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The communication of recorded country music: A Q-technique portrait of seven listener types

Wacholtz, Larry Edward, Ph.D.

The Ohio State University, 1992

UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106

THE COMMUNICATION OF RECORDED COUNTRY MUSIC: A Q-TECHNIQUE

PORTRAIT OF SEVEN LISTENER TYPES

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

Larry Edward Wacholtz, B.A., M.A.

•k ~k ~k -k ~k

The Ohio State University

1992

Dissertation committee Approved By

A. Elgabri

J. Harless Adviser R. Monaghan Department of Communidation ACKNOWLEDGMENTS

I express sincere appreciation to Dr. Robert Monaghan for his guidance and insight in this research. Gratitude is also expressed to committee members Dr. Ali Elgabri, and Dr. James Harless for their suggestions and comments. I also express my thanks to the management and staff of radio station WHOK, Columbus, Ohio, for their assistance in this research. To my wife, I thank you for your support and love.

ii VITA

November 3, 194 7 Born-Spokane, Washington

1975 B.A., Eastern Washington State University, Cheney, Washington

197 6 Audio Engineer/Producer, William Tanner, Memphis, Tennessee

1977-1979 High School Teacher, Kingsbury Vocational Center, Memphis, Tennessee

1979-1981 Instructor of Music Business, Belmont College, Nashville, Tennessee

1981-1983 Director of The Television Production Center, Eastern Washington State University

1983-1988 Associate Professor, Belmont College Nashville, Tennessee

PUBLICATIONS

1986 Inside Country Musicr Billboard Publication

FIELDS OF STUDY

Major Field: Communication, with studies in the entertainment industry and media.

iii TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii

VITA iii

LIST OF TABLES vii

LIST OF FIGURES xi

CHAPTER PAGE

I. PREDICTING CONSUMER PREFERENCES IN RECORDED COUNTRY MUSIC 1 Current Consumer Research 3 The Role of the Producer 4 The Role of the Consumer 5 Purpose of This Research 7 The Research Question 8 Limitations and Definitions 8

II . REVIEW OF RELEVANT RESEARCH 11

Research and Books on Country Music 17

III. A CONSTRUCTIVIST THEORY FOR PREDICTING ENJOYMENT PREFERENCES IN RECORDED COUNTRY MUSIC.20

Play Theory 21 The Role of Country Music Recordings 23 Construct Theory 24 Kelly' s Choice Corollary 2 6 Individuality 2 6 Construct Theory And Communication Research 27

IV. A SYSTEMATIC METHOD FOR PREDICTING CONSUMER PREFERENCES IN RECORDED COUNTRY MUSIC 31

Development of the Q-Sort 33 Test Instrument Design 34 Levels of Independencies 35 Song Variables 37 Vocal Presentation Variables 37 iv Production Variables 38 Human Subjects Committee 39 Stratified Quota System 39 Procedures 40 Data Gathering 40 Frequency Arrays 41 The Questionnaire—Part One 42 The Probe Questions 42 The Questionnaire—Part Two 42 Data Analysis Procedures 43 V. RESULTS AND THEORETICAL CONCLUSIONS 45 Respondents 45 McQuitty and SYSTAT Theoretical Listener Types...47 Common McQuitty and SYSTAT Respondent Types 51 Theoretical Country Music Listener Types 51 Type 1: Positive Romantics 53 Type 2 : Old Gold Dabblers - 62 Type 3 : Urban Cowboys 72 Type 4 : Beverly Hillbillies 82 Type 5 : Trailblazers 91 Type 6 : Star-Struck Boppers 103 Type 7 : Marlboro' s 112 Frequency Analysis and Preference Trends 122 Correlation of Recordings 124 Factor Analysis of Recordings Selected by Theoretical Types 128 Typal Commonalties 131 McCoy' s Emotions as Personal Constructs 132 Correlation of Ideal to Actual Enjoyment 139 General Discussion 143 Prototypes 149

APPENDICES

A. The Interview Guide 154 B . Instrument Key 164 C. Pearson Correlation and Varimax Rotation Tables.168 D . Pearson Correlation of Recordings 186 E . Instrument/Inserts 195 BIBLIOGRAPHY 22 6

v LIST OF TABLES

TABLE PAGE 1. The Country Music Communication Balanced Block Design Research Model 34 2. The Country Music Recording Predictive Instrument Coding Matrix 3 6 3. Guideline For Stratified Quota System 40 4. Country Music Listener Respondents Demographics ... 47 5. SYSTAT Varimax Rotation Factor "Types" 50 6. Common Theoretical Country Music Type Respondents Devised from McQuitty's Elementary Linkage Analysis and SYSTAT Factor Analysis with Varimax Rotation 51 7 . Recording Format Terms 52 8. Positive Romantics "Most Enjoy" Recordings at the 10% and 20% Levels 56 9. Positive Romantics "Least Enjoy" Recordings at the 10% and 20% Levels 56 10. Positive Romantics "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 57 11. Positive Romantics "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 57 12. Old Gold Dabblers "Most Enjoy" Recordings at the 10% and 20% Levels 65 13. Old Gold Dabblers "Least Enjoy" Recordings at the 10% and 20% Levels 65

vi Old Gold Dabblers "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 66 Old Gold Dabblers "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 66 Urban Cowboys "Most Enjoy" Recordings at the 10% and 20% Levels 75 Urban Cowboys "Least Enjoy" Recordings at the 10% and 20% Levels 75 Urban Cowboys "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 7 6 Urban Cowboys "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 7 6 Beverly Hillbillies "Most Enjoy" Recordings at the 10% and 20% Levels 85 Beverly Hillbillies "Least Enjoy" Recordings at the 10% and 20% Levels 85 Beverly Hillbillies "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 8 6 Beverly Hillbillies "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 8 6 Trailblazers "Most Enjoy" Recordings at the 10% and 20% Levels 95 Trailblazers "Least Enjoy" Recordings at the 10% and 20% Levels 95 Trailblazers "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 96 Trailblazers "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 96 Star-Struck Boppers "Most Enjoy" Recordings at the 10% and 20% Levels 107 vii 29. Star-Struck Boppers "Least Enjoy" Recordings at the 10% and 20% Levels 107 30. Star-Struck Boppers "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 108

31. Star-Struck Boppers "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 108

32. Marlboro's "Most Enjoy" Recordings at the 10% and 20% Levels 115 33. Marlboro's "Least Enjoy" Recordings at the 10% and 20% Levels 115 34. Marlboro's "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 116

35. Marlboro's "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment 116

36. Demographic Comparison Analysis 120

37. The Country Music Recording Predictive Instrument for predicting theoretical country music listener preference types 121

38. "Most Enjoyed" Frequency per Country Music Listener Types 124

39. "Least Enjoyed" Frequency per Country Music Listener Types 124

40. Meaningful Correlations of Actual Recordings 125

41. Factor Analysis of Recordings Selected by Each Theoretical Country Music Listener Type 12 9

42. Correlation of Terms Selected by Respondents for "Most Enjoy" 138

43. Pearson Correlation Between Ideal and Actual Frequency Distributions per Respondent and Listener Type 141

44 . Three Levels of Experienced Enjoyment 142

45. Subgroup Types per Experienced Enjoyment 143

viii 46. PEARSON CORRELATION MATRIX of (n = 50) respondents 169

47 . SYSTAT ROTATED FACTORED 177

48. ITERATIVE PRINCIPAL AXIS FACTOR ANALYSIS 17 8

49. FINAL COMMUNALITY ESTIMATES 17 8

50. LATENT ROOTS (EIGENVALUES) 17 9

51 . FACTOR PATTERN. 180

52 . VARIANCE EXPLAINED BY FACTORS 182

53 . PERCENT OF TOTAL VARIANCE EXPLAINED 182

54 . ROTATED FACTOR PATTERN 183

55 . VARIANCE EXPLAINED BY ROTATED FACTORS 185

56 . PERCENT OF TOTAL VARIANCE EXPLAINED 185

57 . PEARSON CORRELATION OF RECORDINGS 187

ix LIST OF FIGURES

FIGURES PAGE 1. A Music Producer's Model of Intended Communication.5 2. A Consumer's Model for the Selection of Country Music Recordings 6 3. The Decision/Validation Process 2 9 4. Model of Similar and Non-Similar Choice Patterns..30 5 . McQuitty Type 1: Positive Romantics 48 6 . McQuitty Type 2 : Old Gold Dabblers 4 8 7 . McQuitty Type 3 : Urban Cowboys 4 9 8. McQuitty Type 4: Beverly Hillbillies 4 9 9 . McQuitty Type 5 : Trailblazers 4 9 10 . McQuitty Type 6 : Star-Struck Boppers 50 11. McQuitty Type 7 : Marlboro' s 50 12. Histogram of Respondents' Selection of K.D. Lang's Three Days 102 13. Polygram of Emotions Experienced from the Two Most Enjoyed Recordings of all Respondents 134 14. Polygram of Emotions Experienced From the Two Least Enjoyed Recordings of all Respondents 13 6 15. Dolly Parton 195 16 . Kenny Rogers 196 17 . Ricky Skaggs 196 18. Randy Travis 197 19. Tom T. Hall 197 x 20 . Exile 198

21. Alabama 198

22 . Ronnie Milsap 199

23 . Kenny Rogers 199

24 . Barbara Mandrell 200

25 . Hank Williams Sr 200

26. Don Williams 201

27. Conway Twitty 201

28. Merle Haggard 202

29 . George Jones 202

30 . John Anderson 203

31. Anne Murray 203

32 . Alabama 204

33 . Ronnie Milsap 204

34 . Jerry Lee Lewis 205

35 . Tammy Wynette 205

36. Conway Twitty 20 6

37. Patsy Cline 206

38 . Hank Williams Sr 207

39 . Brenda Lee 207

40. K.D. Lang 208

41. Reba McEntire 208

42. Conway Twitty 20 9

43. George Strait 209

44 . Juice Newton 210

45 . Hank Williams Sr 210

xi 46. Hank Williams Jr 211

47 . Earl Thomas Conley 211

48. Marty Robbins 212

49. John Anderson 212

50. Kenny Rogers 213

51. Reba McEntire 213

52 . Barbara Mandrell 214

53. Eagles 214

54 . Sylvia 215

55. Tom T. Hall 215

56. Hank Williams Jr 216

57 . Don Williams 216

58. The Judds 217

5 9 . Johnny Paycheck 217

60 . Waylon Jennings 218

61, George Strait 218

62 . Aaron Tippin 219

63 . Kenny Rogers ..219

64 . Ray Stevens 220

65. Merle Haggard 220

66. Ricky Skaggs 221

67 . Loretta Lynn 221

68 . John Denver 222

69. Roger Miller 222

70 . John Anderson 223

71. John Conley 223

72 . Willie Nelson 224 xii 73. K.T. Oslin 224 74. Dwight Yoakam 225

xiii CHAPTER I

INTRODUCTION

PREDICTING CONSUMER PREFERENCES IN RECORDED COUNTRY MUSIC

When David Susskind asked record producer Phil Spector to explain the meaning of the song Da Poo Ron Ron, Spector replied, "It's not what I say it means, it's what it makes you feel" (Grossberg 1983, p. 108).

The goal of creative individuals in the country music industry and the record and publishing companies who pay their salaries is to produce hit records. Music producers, songwriters, recording artists, musicians, and the supporting technical and business networks in the industry are constantly attempting to produce and promote country music recordings consumers will enjoy.

They are often successful. The Country Music

Association (1987) reveals that "country music is liked by over 100 million people." The 1987 Arbitron Clusterplus analysis, commissioned by the CMA, reported the majority of country music radio listeners are well educated, affluent suburban and urban upscale professionals and young, mobile upscale families (p. 11). The CMA surmises that the

Nashville Network is the fastest growing cable television network in America, estimating that consumers spend $550

1 2 million dollars annually on country music records, tapes, compact discs, and an additional 50 million on concerts (1988, promotional video tape). However, there is a flip side. According to Billboard (1990), of the 507 singles and albums released in 1990, only 6.5% attained sales of .002% of 1% or higher of the United States population of approximately 24 9 million. Fifteen recordings were certified gold (sales of 500,000 copies), and 18 were certified platinum (sales of 1,000,000 or more copies). The 15 certified gold recordings were purchased by only .002% to .004% of 1% of the total population of the United States. The 18 platinum records were purchased by a minimum of .004% of 1% of the total population. Compared to previous years, even major country music recording artists such as Kenny Rogers, Barbara Mandrell, and Anne Murray are having trouble selling their recordings (Anderson 1990). While statistics confirm a substantive country music audience, consumer trends have not followed suit. Herein lies the problem. Music record producers have not accurately predicted consumers' preferences (enjoyment) for country music recordings through traditional research methods. Granted, the problem of predicting consumer preferences is not limited to the music business. The entertainment industry is a vast conglomeration of businesses that survive on the tenuous premise that consumers will buy what they find 3 enjoyable. The print media, video, film, and advertising industries often base their production decisions on speculative perceptions of consumer enjoyment and response. Musical recordings are produced in a studio, manufactured into merchandise (records, cassettes, and compact discs), marketed, sent to radio stations for airplay, and distributed to stores for consumer purchases. The production and distribution occurs before the public has an opportunity to hear the recordings (other than a live performance in a concert), and before the music industry (who has created, produced, and paid for the recordings) knows if the records will be successful. It is the consumer's personal selection, use, and enjoyment of the musical recordings which ultimately determine the financial success of the country music recording industry. Current Consumer Research Recordings are "tested by fire" in the open market place of the mass media. Additional indicators of consumer responses are tested in more controlled settings, known as auditorium and "call-out" testing. In auditorium testing, music hooks (a 15- to 30-second segment of the recordings) are played for 75 to 100 individuals seated in an auditorium. Respondents are asked to rate the recordings on a 5- or 7- point scale to determine their enjoyment of the musical recordings. "Call out" research uses the same method except 4

individuals are telephoned at home (Wimmer and Dominick 1987, pp. 332-333) .

There are several limitations to auditorium and "call out" research. The music hooks are often too short and respondents may develop listening fatigue. The home environment (in telephone research) often interferes with the respondent's attention (Wimmer and Dominick 1987, pp. 332-

333). In addition, the frequency response of telephone lines do not provide the same quality of music reproduction as an

FM radio station, home cassettes or compact disc players.

Auditorium and "call-out" research does not provide music producers with a systematic method to accurately predict

consumer preferences for future and present, it would seem,

country music recordings.

It is as difficult to categorize listener enjoyment into musical genres as it is to target a broad listening audience.

Radio stations are constantly assessing which oldies,

currents, and new releases listeners will most enjoy. Record

companies are often frustrated trying to "figure out" which artist to sign, which songs to record, and what type of production might best satisfy the enjoyment needs of the consumer.

The Role of the Producer

The goal of the producer is to create the type of musical messages consumers will choose to listen to and 5 enjoy. The producer's perspective must successfully incorporate content and style attractive to varying consumer preferences. Music producer's knowledge of the audience is often superficial. They often create recordings without knowing "what" their potential clients most enjoy. Consequently, record production often follows a pattern of past successes or, when all else fails, trying a new approach, a new voice, or genre. The producer's model of intended communication may be modeled as:

Elements of the Recording Potential Consumers with unknown enjoyment needs. ^ C The recording artist (R) The Song (Theme) ^. The Recording (X) ^ ~ Z c The Production (P) ^

Figure 1. A Music Producer's Model of Intended Communication. The inference is that if producers can predict the type of recorded messages (country music recordings) consumers most enjoy, then they can produce the types of recordings (messages) which may sell in greater numbers.

The Role of the Consumer The consumer's cognitive role in selecting various country music recordings is unknown. We do not know how or why individuals subjectively use country music recordings. However, it seems reasonable to assume that there is a purpose. The author's theory is that focusing on the experienced enjoyment respondents feel when listening to a sample of country music recordings may predict a communicative relationship between consumers and their preferences for various country music recordings. When (x) symbolizes the types of recordings available and (y) the personal feeling of enjoyment a respondent might experience, then the role of the consumer can be modeled as:

The Recordings The Potential Examples of Perceived in the Market Consumer Enjoyment Place (X + Y Happy) (X + Y Sadness) (X + Y Love) (X + Y Anger)

Figure 2. A Consumer's Model for the Selection of Country Music Recordings. Consumers select various recordings in the marketplace which are perceived as messages (coded X). It is postulated consumers use the messages to assign a meaning (Y) to the message. The result is some type of experienced enjoyment as expressed in the examples of happy, sadness, love, or anger. The inference of human emotions as personal constructs is adapted from McCoy 1977 p. 121. 7 Purpose of This Research The creative and research processes in the country music

industry have not yet reached their full potential. Creative production is being hindered because music producers do not have a method that predicts the communicative relationship between recorded country music and the potential audience's preferences. Music producers need a method they can use to better understand the recorded country music preferences of

their potential audiences. Then, with a better understanding

of "what the audience enjoys," music producers can hopefully provide the types of recordings consumers will perceive as

enjoyable.

This study focuses on the descriptive nature of the

communicative situation in relation to consumer preferences.

Its purpose is to illustrate a predictive theoretical

communicative relationship between recorded country music and

the elements of content and style consumers find most

enjoyable. It is an attempt to narrow the knowledge gap between what country music producers think the public desires

and what the public actually prefers. This research attempts to examine how country music listeners define themselves in terms of the recordings they most and least enjoy. It is assumed that choices or preferences are made at, least in part, on experienced enjoyment as defined by the consumers themselves. 8

The Research Question

1. Do consumers divide into theoretical preference

types on the basis of their corresponding expressed

preferences for characteristics of content and style in

country music recordings?

Limitations and Definitions

The goal of this research is to construct a theoretical communication model of recorded country music that will contribute toward a data based theory of communication. More specifically, this research is intended to determine major patterns of relevant communicative behavior and beliefs concerning country music recordings to provide an indication of country music consumer types. It is postulated the results may be generalized to other similar country music consumer types of individuals (adapted from MacLean 1965, p.

614) .

Country music recordings are defined as country and western musical recordings that were released by record companies from 1944-1991, or ranked by Billboard's Hot 100 country music charts. Hit records are defined as recordings that receive either gold or platinum status in record sales.

Respondents claim to be fans and listen to country music recordings on their car or home radios, cable television stations, cassettes, or compact disk players a minimum of one hour per week. The country music recording's content and 9 style are defined as described by the author and ranked by the consumer's selection based on their experienced enjoyment from listening to actual portions of country music recordings on a cassette recorder.

To that end, this research excludes perceivable explanations found in the promotion, marketing, hype, sales, and other business tactics of the industry, and centers instead on influences drawn from the preferences and musical choices of the consumers.

The term Constructivist refers to Kelly's theory of human personality. It has been adapted by Monaghan, Delia, and other communication scholars as a Weltanschauung for communication research. The term musical hook refers to a short segment of an actual recordings, which often embodies part of the chorus of the song. It is used as a representation of the artist presentation, production, and theme of the entire recording. First cousin and second cousin are terms used to represent a statistical relationship as defined by McQuitty's elementary linkage procedures of analysis.

The author postulates that recording artists' personae may be instrumental in the respondents' initial selection of recordings. However, it is also postulated that the respondents' experienced enjoyment is constructed from all the elements of the recording including the performance by 10 the artist, the message of the song, and the quality of the production. CHAPTER II

REVIEW OF RELEVANT RESEARCH

There is little doubt that the mass media are providing an enormous amount of pleasure, relaxation, excitement and relief from boredom for their audiences. ... It seems as though the mass media and popular art and entertainment were made for each other (Schramm 1988, pp. 262-264).

Schramm (1988) provides a historical perspective of the development of human communication in his book The Story of

Human Communication. Schramm reports that early mankind may have developed the use of a verbal language in order to keep both hands free for food gathering and protection. Languages developed out of the need for survival between 70,000 to

10,000 years B.C. The migration of humans from caves to villages and cities provided an additional need for the development of language. Written language developed between

4,000 and 2,000 B.C. Printed material appeared as early as

200 A.D. in China, and the printing press (Gutenberg press) was invented in 1450 (p. 1-66).

The birth of the mass media were tied to the inventions of machines of message duplication, transmission, and 11 12 reproduction. According to Schramm (1988) "the mass media

serve an audience and are dedicated to the production and circulation of communication" (p. 137). Schramm describes the ninetieth century as an important time period for the development of the entertainment mass media with the advent of the novel. He cites Dickens, Thackeray, Hugo, Tolstoy,

Thomas Mann, and Mark Twain as examples of authors who helped

"establish the novel as the dominant form of literature." He

claims the novel "is the greatest magnet for reading audiences" (p. 2 62). In addition, the advent of radio and the motion picture industry enhanced the use of the mass media as a form of popular entertainment. Audiences have continued to grow as they have found new ways to entertain themselves through the use of the entertainment mass media.

Tan (1989) posits there are three current theories of persuasion that have influenced research of audience reception. They are (a) learning theory, which assumes we are rational animals who make decisions on what is experienced to be the best information, (b) the consistency theory (dissonance theory), which assumes that we are

rationalizing animals that make decisions for justification and protection of current beliefs, and (c) functional theory which assumes that we adapt new attitudes to fulfill needs that will be perceived as useful. None of the theories by 13 themselves seem to provide a guideline for predicting consumer preferences.

Research of music as a form of communication has been extensive. However, Budd (1985) suggests the current

research on the relationship between music and emotions can be summed into two positions. They are:

. . . that the value of music as an art-form and the different musical values of different musical works must be explained by reference to music's relationship with something outside music and in which we have an independent interest, or (b) That the essential value of music as an art-form is purely musical. . . the value of music is essentially unrelated to the emotions (p. xi- xii) .

Confucius not only loved music, but ascribed to its

social virtues. He believed that ritual and music were the

clues to harmonious living (Gutheil 1952, p 26). Plato's 4th book of The Republic, states:

Health in body and mind, which controls and improves the body, is to be obtained through music and gymnastics and should continue throughout life. Aristotle described the beneficial and medicinal effects of music "as an emotional catharsis"(p. 26).

Langer's Philosophy in a New Key (1951) characterizes music as symbolic and suggests that it symbolizes the form of

a feeling. Cooke (1959) attempted to correlate emotions and musical patterns. Meyer (1956) attempted to identity

experiences communicated by music. Smith (1989) reports to

have found a statistical relationship between music preferences and moods found in young people. Smith however,

found the relationship to be a "complex phenomenon." 14

Gutheil in his book Music and Your Emotions (1952) describes how music was used as a psychotherapeuthic agent on returning World War II army patients. A study entitled

Healing With Music was conducted by the Music Research

Foundation at The Walter Reed General Hospital in Washington

DC. The study was authorized by the Surgeon General's Office and indicated music seemed to penetrate the patient's world of fantasy and reestablish at least temporary contact, through memory association, with the outside world. In Music and Your Emotions, Gutheil described the emotional strength of 105 pieces of music by asking respondents to describe their experiences from listening to the musical recordings.

Emotions described included perceptions of happiness, agitation, nostalgic sentiment, relaxation, and feelings described as eerie, weird, and grotesque. The recordings were judged on emotional strength and listener agreement.

Results indicate that 61% of the selections received over a

50% agreement rating, (1952, pp. 56-96).

Numerous studies have been conducted concerning the effects of listening to music. It appears that listening to music may affect cogitation. Hansen and Hansen (1991) claim to have found information processing of the heavy metal rock themes of sex, suicide, violence, and the occult. Johnson

(1985) reports that music may affect behavior in a classroom.

Students listening to music were less productive. Blackburn 15

(1983) found a relationship between adolescent's musical

interests and self-concepts. Litle (1986) indicated that

music may provide enhanced recovery from a stressful event.

LaVoie and Collins (1975) examined rock music and its adverse

affects on school performance. Three hundred and fifty-six

students were tested on their ability to study while

listening to rock music, classical music, or without music.

In all subject areas, the level of retention for students who

studied with music was significantly lower than students who

studied with no music.

Tanner (1978) examined the relationship between the

youth culture, school, and low commitment to school

associated with delinquency and the pop-media culture. Data

supports a significant factor affecting the relationship between school commitment and involvement in both the street

culture and the pop-media culture. Gold (1987) compared the

self images of a delinquent group of punk rockers with a

delinquent group of non-punk rockers. Gold found no

significant differences between individual respondent's self-

images who listened to punk music and those who did not. The

findings suggest while punk rockers may look and act unusual,

they may actually have the same social behaviors as other

groups of delinquent teenagers.

Fox and Williams (1974) studied 730 college students for

implications of political orientation and contemporary music. 16

Their results suggest that contrary to many mass society

theorists, contemporary music does have significant political

elements, although the range and diversity of musical styles

requires specification of the direction and strength of these

political elements. Kuwahara (1987) found that for thirty

years rock music has reflected the myth of the Promised Land

to both the musicians and audiences.

Authors Robinson, Pilskain, and Hirsch (1976) found a

positive cultural indicator that rock music played a perceivable role in helping to create, sustain, and celebrate

an atmosphere of social change through its legalization of

subcultural attitudes. Buxton's study (1983) indicates that

rock stars provide a model of personal identity in a consumer

society.

Reeve (1986) determined that listening to music may

interfere with the ability to process information. Rosenbaum

and Prinsky (1986), in a questionnaire study of 266 students,

requested students to name the titles of their three favorite

songs. Data revealed of the 662 songs selected only 7% were perceived by the respondents to refer to sex, violence,

drugs, or Satanism. Males had a greater tendency to find the previously listed themes (16%) in their favorite songs than

females. Love appeared to be the most dominant theme in

songs listed by females (34%) (1986, p. 79-90) . Mashkin and

Volgy, (1975) in a study of music as a means of 17

socialization, found that most music fans do not choose songs

for lyric content.

Irvine and Kirkpatrick (1972) provide a theoretical

system that offers a means of analyzing and utilizing the

musical form in a rhetorical exchange. Lewis (1987) examined

music's revolutionary force and its power in preserving

social institutions. His studies suggest that music should be analyzed as "symbolic communication" with its meaning

defined as it applies to the creators, consumers, and its use

in defining social groups and their problems. Buxton (1983)

found counter-cultural rock stars represent values shared

with local audiences, but their products are promoted in

international markets.

Research and Books on Country Music

Claiming that Vaudeville never died, it just moved to

Nashville, Shelton and Goldblatt (1966) describe The Country

Music Story. Two books claim to be encyclopedias of country music. The Encyclopedia of Country & Western Music by

Marschall (1985) provides recent perspective of industry

recording artists. Cellar, Cackett, and Thompson (1986) provide similar information in The Harmony Illustrated

Encyclopedia of Country Music. Billboard Publications provides information on the business of country music in

their books by White (1990) Gold and Platinum Records and

Wacholtz (1986) Inside Country Music. 18

There have also been numerous academic studies concerning country music. Smyth (1987) studied country humor and reports that it functions to promote traditional values and social cohesion for white Southerners. Conrad (1988) examined country music songs for themes of manual labor and self-identification. Conners and Alpher (1989) examined alcohol themes within country music songs. They found that

66% of the songs contained lyrics typed as existential dilemmas and lessons learned, loneliness and lost love, or negative consequences. Chalfant and Beckley (1977) also examined the image of alcohol use in country music and decided the lyrics were ambivalent concerning drinking.

Rumble (1980) studied the life of Fred Rose and his involvement with the development of the country music industry in Nashville. Rumble states that Rose felt country music served the emotional needs of its listeners and that he was instrumental in the commercialization of country music.

Smith (1985) examines the Southern viewpoint in his book Myth, Media, and The Southern Mind. He suggests that individuals:

Psychologically adapt mediated messages about the nature of their culture and society as significant elements of their world view, thereby exerting considerable influence upon their subsequent behavior (p. 136) .

Rogers (1983) used content analysis to examine 50 of the most popular country music songs recorded since 1960. Rogers 19 claims that lyrics are the key to country music songs. He divided elements of the songs into categories. The

characteristic of each category include the situation

(scenes), the people (actors), and the behavior (action).

Rogers found four recurring themes, consisting of three major types of love relationships between men and women and one category describing living. Themes include (a) Hurtin1 love

(b) Happy love (c) Cheatin' love, and (d) Livin1 or how a person wishes to live, is living, or plans to live.

The research, if extensive, does not provide country music producers a systematic method for predicting consumer preferences. CHAPTER III

A CONSTRUCTIVIST THEORY FOR PREDICTING ENJOYMENT PREFERENCES IN RECORDED COUNTRY MUSIC

Only when man attunes his ear to recurrent themes in the monotonous flow does his universe begin to make sense to him. Like a musician, he must phrase his experience in order to make sense out of it (Kelly 1963, p. 52) .

Schramm (1988) claims media entertainment research is concentrated in two directions: (a) television and other media as teaching violent behavior and (b) as a method of personal escape from the realities of life (p. 268). He states:

These two avenues of investigation have not discredited the ideas that mass-media entertainment may have potential ill effects on children or that it may distract adult audiences from their real-life problems. Rather their effect has been to broaden knowledge of how people use entertainment, including both conditions under which television content may be copied with harmful results and the conditions under which it may contribute to happiness and understanding (p. 268).

Schramm offers Huizinga's book Homo Ludens: A Study of the Play Elements in Culture and Stephenson's book The Play

Theory of Communication as examples of the second type of mass media entertainment research. Schramm describes their

20 21 research as an attempt to "try to understand the function of mass-media entertainment without equating it simply with escape" (p. 268). Stephenson's perspective is that: . . . at its best mass communication allows people to become absorbed in subjective play. . . . The main idea is very simple, for in what does a person find greater enjoyment than in playing games? (1967, p 3) . Play Theory Huizinga (1950) examined the act of human play as a cultural phenomenon. Play has the function of letting individuals act "as if." The terms play and music are closely associated. Musicians "play" their instruments, and consumers "play" musical recordings. Huizinga suggests play is a free, voluntary activity that is significant in that it has social functions, limits, a place, and an end. Play is not considered serious, but it can lead to formalized cultural functions and social groupings. Huizinga also describes play as a contest or as a representation of something on a higher order than exists in common reality. Huizinga determined that "play" can be found in civilizing functions, laws, wars, art, and even in: . . . the domains of the human mind itself. . . that is to say, in knowledge and wisdom (p. 105). Stephenson (1967) relates Huizinga's research to mass communication, suggesting that to use mass media products is 22 to engage in the art of "subjective play." Stephenson reports that subjective play is enjoyable, as it: . . . allows us opportunities to exist for ourselves, to please ourselves, free to a degree from social control (p. 2). Stephenson determined that individuals find their greatest pleasure in "playing games" and that mass media products provide consumers with an opportunity to engage in subjective play for the purpose of communication pleasure. He also suggests that subjective play is related to the concepts of myths and fantasy. Mair (1988) determined that: Almost everything is enacted. ... We have to conjure images, pictures, patterns of how it feels, how it seems. ... We are composed and made into versions of humanity by the ways of understanding and misunderstanding (p. 125-135). Campbell's research on myths may help us understand or illustrate human "play." In his book The Hero With a Thousand Faces (194 9), Campbell claims that mankind learned to survive from observing animals and plants. He suggests that each of us followed the tale of the hero and learned to survive and mature from its message. Individuals act (play) as if the myth (told a thousand different ways) is true. He claims:

Throughout the inhabited world, in all times and under every circumstance, the myths of man have flourished; and they have been living inspiration of whatever else may have appeared out of the activities of the human body and mind (p. 3). 23

Campbell, appears to describe subjective play as myths we tend to believe in and follow. He claims:

Like dreams, myths are productions of the human imagination. Their images, consequently, though derived from the material world and its supposed history, are, like dreams, revelations of the deepest hopes, desires and fears, potentialities and conflicts, of the human will - which in turn is moved by the energies of the organs of the body operating variously against each other and in concert. Every myth, that is to say, whether or not by intention, is psychologically symbolic (1986, p. 50).

However, Campbell now claims:

Today all of these mysteries have lost their force; their symbols no longer interest our psyche. . . Not the animal world, not the plant world, not the miracle of the spheres, but man himself is now the crucial mystery (p. 387-391).

Therefore, the author postulates that through play we

construct an important human experience: country music.

The Role of Country Music Recordings

Based on Campbell's assertion, it seems reasonable to postulate that if the important tutoring functions of myths

are indeed gone, or no longer followed, then consumers of

country music recordings may be subjectively using the

recordings to help themselves construe a sense of validity.

In a sense, everything that comes to a person by popular media, whether literary or electronic, is not the actual thing to which it refers but is instead a kind of staged and symbolic play. . . (Sutton-Smith 1988, p. 11) .

Therefore, the author is postulating that country music

recordings provide consumers an opportunity to subjectively play and to use the messages in the recordings as an event to 24 understand themselves and their individual situations and as a means of anticipating future events. The experienced

result is personal enjoyment. According to Mair (1988) : Any understanding we have of reality is in terms of our stories and our story-creating possibilities. ... We are not separate containers of being. ... We are totally immersed in our culture, language, place, and time (p. 131) .

Construct Theory

Kelly (1964) provides a theoretical foundation for this research. He offers a communicative perspective for understanding subjective play. In his book A Theory of

Personality, Kelly provides an explanation for differences and similarities in individuals based on theoretical cognitive processes. He suggests that we regard all events confronting us in a hypothetical way. His fundamental postulate states:

A person's processes are psychologically channelized by the ways in which he (she) anticipates events (p. 46).

Kelly suggests that we are organisms in motion or process, whose behavior is channeled through the pathways we have invented, as a way to choose how we will live.

According to Kelly's theory, our cognitive processes suggest that we invent our own personalities, and therefore construct

our own perception of social reality.

Kelly (1966) posits that individuals construct their own

sense of validity through a system of perceptions called

constructs. He suggests we use constructs (transparent 25 patterns or templates) to "fit" over specific events in order to establish a sense of meaning or validity for an event. He states:

We cannot say that constructs are essences distilled by the mind out of available reality. They are imposed upon events, not abstracted from them. There is only one place they come from: that is from the person who is to use them. He (she) devises them. Moreover, they do not stand for anything or represent anything, as a symbol, for example is supposed to. . . . They are reference axes, upon which one may project events in an effort to make some sense out of what is going on. . . Constructs help us locate events, understand them, and anticipate them (p. 13) .

Construing, according to Kelly (1963), is the act of interpreting an event. Using Kelly's theory, it is postulated consumers will use their construct systems to evaluate and enter into subjective play when listening to country music recordings. Kelly suggests that we are constantly in the process of "fine tuning" or refining our construct system. He claims:

In general man seeks to improve his constructs by increasing his repertory, by altering them to provide better fits, and by subsuming them with superordinate constructs or systems (p. 9).

Bannister and Mair (1968) assess Kelly's Theory of

Personality as:

A way to understand mankind's "psychological reconstruction of life. . . as we are concerned with finding better ways to help a person construe his life so that he need not be the victim of his past" (1968 p. 8) . 26

Kelly's Choice Corollary

Kelly's (1964) choice corollary offers an adaptable theory for predicting consumer preferences of content and style in country music recordings. He states:

A person chooses for himself (herself), that alternative in a dichotomized construct through which he (she) anticipates the greater possibility for elaboration of his (her) system. . . . One defines his (her), system by extension at least, by making it clear how its construct components are applied to objects or are linked with each other. He (she) amplifies his (her) system by using it to reach out for new fields of application. In the one case he (she) consolidates his (her) position and in the other he (she) extends it (p. 15-64) .

Individuality

Kelly's theory provides a basis for variance in each

individual cognitive processes. Each of us as individuals is

different or similar because of the constructs we use to

determine our sense of validity. According to Kelly's theory, we can only understand an event through the

application of our constructs. We establish different or

similar meanings for an event because of our construct

systems. Constructs can be effectively used to measure and validate what an event means to the individual and to predict

future events.

From this the author postulates that the individual

choices consumers make in their preferences of country music

recordings are directly related to the individual's construct

system. Theoretically, individuals may express similarities 27

or differences in their preferences for various types of

country music recordings. The variance in respondents'

selection patterns will depend on the ways in which the

respondents construe the recordings.

Construct Theory and Communication Research

Construct theory may be used as a guideline for the

research of a communicative situation. In this case, Kelly's theory is adapted to provide a basis for observing the choice patterns of the respondents who are listening to country music recordings. Respondents assign meanings to country music recordings in terms of their own constructs. The focus

of criticism is shifted from the text (recordings) to the

expressed respondents' enjoyment choice patterns. According

to Delia (1977) : The person is conceived as an active agent who reconstructs his environment and who is a source of acts rather than a simple responder to external forces (p. 69) .

In this research the author postulates that respondents

will make Kelly's elaborative choice when selecting the

country music recordings they consider "most" and "least

enjoy." It is assumed that the act of listening to the

recordings follows Huizinga's ludenic theory and Stephenson's

subjective play theory of mass media entertainment. Finally,

it is assumed that the personal cognitive results from

listening to the chosen recordings is enjoyment as defined by the respondents. 28 Decisions made above the level of personal survival may be considered a process of play. In other words, anything above breathing, eating, and work may be considered play. It is assumed that listening to recorded music is a playful act. We "try on" a recording to see if it "fits," just as we might try on a new pair of shoes to see if they are comfortable. Recordings that "fit" relate to the person's situation and their "need" to understand (validate) themselves. Recordings provide the consumer with an opportunity to orient his or her self to the recording's message. There are two important assumptions concerning this theory: (a) Choices are made that seem to benefit the person making the decision (Kelly's Choice Corollary), and (b) choices allow us to enter into a stage of subjective "play" (Huizinga and Stephenson). The choices consumers make are a process of decision and validation. The decision/validation process of listening to recorded country music is modeled as: 29

Recordings The Selection Results Process

Validation-^- -^ Enjoyment (Extension of) A (Self-identity)

Contrasting—^ Self Expectation C Invalidation- -^ Decision For (Defining of (Self-Identity) __i Figure 3. The Decision/Validation Process. (Adapted from Monaghan [1976] Self concept: through the Communication Looking Glass p. 171. The recordings (A, B, and C) are events that offer messages to the individual. The selection process consists of an analysis of the three recordings to see if we want to listen to any of them. According to Kelly's Choice Corollary we will select the recording(s) that we can use to either define or elaborate our construct system. It is assumed that a recording that is construed differently than expected may invalidate our perception about the recording message and therefore offer us an opportunity to define our construct system. Respondents may decide to not select the recordings and to therefore not use the messages for the validation process. A recording that validates our expectation may offer us an opportunity to elaborate our construct system by reinforcing our perception of the message of the recording.

The decisions individuals make are observable through the formats (types) of country music recordings they select as most or least enjoyable. In turn, inferences can be made from the observed behavior. The inferences are then available to provide a basis for predicting future choice 30 patterns. The choice patterns are from the respondents who tend to fall into theoretical types according to their make up or demographics. A model of respondents' choice patterns concerning country music recordings may be constructed as:

Non-similar choice Non-similar choice patterns patterns

Area of shared choice patterns Figure 4. Model of Similar and Non-Similar Choice Patterns. The circle represent the totality of the individual's choice options concerning the selection of various formats of country music recordings as most or least enjoyed. The shaded area represents the similar choice patterns made by various individuals. The similar choice patterns indicate respondents who tend to fall into a "country music listener type." CHAPTER IV

A SYSTEMATIC METHOD FOR ILLUSTRATING CONSUMER PREFERENCES IN RECORDED COUNTRY MUSIC

Stephenson's (1953) Q-technique provides a rigorous method for researching the attitudes of the individual consumer's enjoyment (preferences) for various country music recordings. Stephenson (1968) posits that Q-technique allows individuals to model for themselves what their attitude of mind is about topics and situations. Stephenson claims Q can be used to:

Experiment upon certain attitudes of mind of any person we care to make the subject of inquiry. . . . Aesthetics, attitudes, thinking behavior, self- reflections, and every conceivable form of human behavior, individual or group (pp. 16-19).

In the Q theory, Kelly's elaborate choice can be tied to the method by the individual consumer's self-reflective statements in response to the types of recordings they most and least enjoy. The meaning is in the choices of the respondents and not in the objects of the Q-sort.

Q's design provides a structure to the communicative process by offering a balanced sample of statements or

31 32 objects (recordings) to sort. Stephenson argues that Q makes it possible to research small populations or individuals. In his 1953 book The Study of Behavior, Stephenson states:

The new technique, we suggested, made it possible to make factor studies on a single or a few individuals, thus bringing the methods of correlation and factor analysis into the laboratory or clinic. This was possible if persons were correlated instead of test (p. 9) .

This method also presents an opportunity for the use of

factor analysis in determining theoretical respondent types.

For the purposes of this research, a Q-factor is considered a theoretical country music listener type. According to

MacLean (1965):

Through the use of Q on relatively small samples of "the audience," a communicator can determine its major patterns of relevant behaviors. Instead of trying to deal with some amorphous man-in-the-street, or at the other extreme, with five million different individuals, he can develop strategies for aiming his communication differentially to perhaps five or six different types of persons, types which pretty well cover the five million individuals (p. 617).

Inherent to this research is the consumer's choice of recordings based on experienced enjoyment. This study postulates that the consumer's choice of recordings (based on enjoyment) displays the content and style consumers prefer, and that factor analysis of the consumers' expressed preferences will indicate different selection patterns, which may be used to construct theoretical country music consumer types. 33

Development of the Q-Sort

A country music recording can be considered a kind of a package (adapted from MacLean 1972) . The consumer has many packages to choose from when he or she selects a recording.

Every different song, vocalist, musician, instrumentation, rhythm, performance, and production changes the flavor of the package available to the consumer. However, the final recording can be seen as consisting of three main elements:

(a) the recording artist and his/her presentation, (b) the type of song, and (c) the production. Together they provide a country music package (recording), ready for selection by the consumer.

The three elements of country music recordings were designated as the independent variables of the balance block design. Stephenson (1953) refers to the elements as

"independencies" (p. 69). The recording artist's presentation independencies were assigned three levels, (a) passionate, (b) heartbroken, and (c) descriptive. The levels for the song independency consist of (a) traditional values or (b) contemporary issues. The third independency

(production) was divided into two levels (a) simple or (b) complex. 34

Table 1. The Country Music Communication Balanced Block Design Research Model.

Independencies| Qualities

(A) Recording |(a)Passionate (b) Heartbroken (c)Descriptive | Artist I I Presentation | I

Balanced Block Design: aaaa bbbb cccc ddee ddee ddee fgfg fgfg fgfg

The dependent variable is the selection based on enjoyment consumers experience when listening to a recording.

Test Instrument Design

The research design consists of a combination of 12 recording formats. The 12 formats are replicated 5 times for testing instrument reliability. The sample (observations or recordings) is a 3 x 2 x 2 matrix of (n = 60) statements.

The instrument consists of 60 actual country music recordings. In Q, the population refers to the statements, in this case, country music recording types. Respondents were expected to judge each sample item independently, and as a unit, by cross-comparison of all the items. Each statement is an actual recording lasting approximately 20 to 90 35

seconds, which represents the independencies and levels of the balanced block design. All of the independencies

(components of a recording) are represented and combined equally. Each recording was on a single cassette.

Respondents were also given cassette inserts for each

recording which consisted of (a) the name of the recording

artist or group, (b) a picture of the artist or artists, (c) the key lyrics from the song, and (d) a description of the production techniques and instrumentation. The inserts provided the respondents with a package similar to professional cassette recordings found in the marketplace.

The inserts also represented the recordings during certain test procedures.

Levels of Independencies

The levels of each independency was constructed by a

content analysis of country music recordings, which included a review of recording titles from Whitburn's book (1988)

Billboards Country Music's Number One Hits (from 1944 to

1988) and radio station air play. A Columbus, Ohio, radio

station provided a list of over 1,400 titles to review.

Selections were made from the titles and the radio station's

1,400 recordings. 36

Table 2. The Country Music Recording Predictive Instrument Coding Matrix. The 12 types of recordings are defined as: ADF: Passionate artist presentation, songs about traditional values (happy/dedicated love songs and simple production). ADG: Passionate artist presentation, songs about traditional values (happy/dedicated love songs and complex production). AEF: Passionate artist presentation, songs about contemporary issues (happy/wanting love, romance, or sex theme songs, and simple production). AEG: Passionate artist presentation, songs about contemporary issues (happy/wanting love, romance, or sex theme songs, and complex production). BDF: Heartbroken artist presentation, songs about traditional values (hurting/lost love songs and simple production). BDG: Heartbroken artist presentation, songs about traditional values (hurting/lost love songs and complex production). BEF: Heartbroken artist presentation, songs about contemporary issues (hurting/cheating love songs and simple production). BEG: Heartbroken artist presentation, songs about contemporary issues (hurting/cheating love songs and complex production). CDF: Descriptive artist presentation, songs about traditional values (philosophical, attitudes/responses to life songs, and simple production). CDG: Descriptive artist presentation, songs about traditional values (philosophical, attitudes/responses to life songs, and complex production). CEF: Descriptive artist presentation, songs about contemporary issues (philosophical, identification songs, and simple production). CEG: Descriptive artist presentation, songs about contemporary issues (philosophical, identification songs, and complex production). 37

Song Variables

Rogers' (1983) research of the country music message provides an operational definition of song variables. In his book, The Country Music Message, Rogers cites four recurring themes: (a) Hurtin' love, (b) Happy love, (c) Cheatin' love, and (d) Livin'. In the Q-sort, the traditional values are clustered as (a) dedicated or satisfied love, (Happy love),

(b) hurting or lost love (Hurtin' love), and (c) philosophies, attitudes, and responses to life (Living songs). Contemporary issues included (a) wanting love, romance, or sex, (Happy love), (b) cheating or leaving a relationship songs (Cheating Love), and (c) identify or "who

I am" songs (Living songs).

Vocal Presentation Variables

An analysis of vocal inflections was conducted by the author in order to determine the recording artist presentation variable. The author selected recording types as defined by Rogers and constructed a content analysis of vocal presentations. The term passionate represents a dramatic performance that is theoretically described as excited, enticing, genuine, cheerful, inviting, lustful, aroused, intimate, eager, happy, devoted, appreciative, rejoicing, joyful, goofy, elated, sincere, and wishful.

Heartbroken vocal inflections were theoretically described as sad, depressed, regretful, inquisitive, 38 bittersweet, hopeful, sorrow, dejected, anxious, blue, agitated, annoyed, indignant, impassioned, pleading, resentment, gloomy, confessing, anger, dejected, yearning, hurt, insistent, and revealing. Descriptive vocal inflections were theoretically described as compelling, telling, recommending, celebrating, wanting, questioning, enraged, mad, rebelling, optimistic, convincing, preaching, nostalgic, powerful, boastful, enthusiastic, proud, humbly, confident, reminiscing, satisfied, earthy, and graphic. Production Variables According to Shelton and Goldblatt (1966), the production aspect of country music is often identified by the use of stringed instruments (guitar, banjo, mandolin, auto- harp, fiddle) and singers who use a distinctive twang in their voices (p. 11). Production is postulated as either simple or complex. Simple is defined as having (a) fewer instruments, (b) a slow to medium tempo (in most cases), (c) a musical mix consisting of the vocals in the foreground with the instruments in the background supporting the vocals, and (d) few if any special effects (audible echo, compression, equalization). Complex or processed productions are defined as (a) having more than five instruments, (b) medium to fast tempo, (c) vocals mixed into the sound level of the instruments, and 39

(d) often audible special effects such as compression, and equalization. Complex productions most often use electric

instruments played and mixed similar to rock or pop music.

Complex production may also consist of choirs or orchestrated

instrumentations. The differences between simple and complex production are (a) the mix levels between vocals and drums,

(b) the number of instruments, with complex productions often

consisting of 5 or more, (c) the types of instruments (often

including the use of traditional country music instruments

such as the steel guitar and fiddle), and (d) the production audio effects and tempo.

Human Subjects Committee

This research, consisting of the testing instrument and

interview guide, was submitted to and approved by the Human

Subjects Committee of The Ohio State University.

Stratified Quota System

Respondents are described as country music fans who listen to country music recordings an average of at least one hour a week. Respondents listen to the recordings on car or home radios, cassettes, or compact disk players. Respondents were selected from a variety of sources, including a mailing

list from a record store in Nashville Tennessee and a

Columbus, Ohio, radio station's data bank. The mailing list contains the names and addresses of Columbus, Ohio, residents who have purchased recordings from the Nashville record 40 store. Using a stratified quota system as a guideline, the author attempted to test 45 country music fans who represent the following diverse demographic broad sample.

Table 3. Guideline For Stratified Quota System

Stratified Quota System

Qualities Respondents to be tested

Gender | Males 22

Ages | 18 to 34 15 | 35 to 54 15 | 55 and over 15

Personal | Annual I Income | 00,000 to 19,999 15 I 20,000 to 34, 999 15 | 35,000 and over 15

Education | High School or less 15 I Attending College I or additional training .... 15 1 College graduate or more....15

Procedures Data Gathering

The majority of respondents were interviewed in their homes. Eighteen respondents were interviewed at a local dance (dogger) club and 3 were interviewed at work.

Respondents were asked to select a cassette and to read the

label. Respondents were asked to listen to each recording 41 and to place the box or box insert onto one of three designated piles: (a) enjoy the most, (b) neutral, or (c) enjoy the least. The length of the recordings (musical hooks) were between 2 0 and 90 seconds. As in a real-world situation, respondents had the option to (a) listen to all of the recording, (b) turn it off once they had made their decision, or (c) decline to listen to the recording since they were already familiar with it and knew their response.

The respondents selected the listening order of the recordings. Once the respondents had finished the process, the tapes in each pile were tallied.

Frequency Arrays

After the respondents had listened to all of the recordings, they were asked to place their selections into a frequency array. This involved moving the cassette boxes or inserts from each of the three piles used during the listening session onto 15 cards which represented the number of recordings and values designated in the forced frequency distribution. The point values for the distribution ranged from (1) for least enjoyed to (15) for most enjoyed. Extreme positions allowed for two tapes in each position. The center column had 8 tape positions. Scores were recorded on a data array sheet.

Next, the same tapes the respondents had listened to were randomized. Respondents were asked to sort the tapes 42 once again into the frequency arrays based on which recordings they actually "hear the most to hear the least."

The range was once again 1 for "hear the least" to 15 for

"hear the most."

The Questionnaire—Part One

Respondents were asked to evaluate the four "choices"

(two most enjoy and two least enjoy recordings) in the extreme positions of the enjoyment frequency arrays.

Respondents were asked to rate on a 7-point scale their range of human emotions defined as personal constructs by McCoy

(1977) .

Probe Questions

Three probe questions were asked concerning the four recordings in the extreme positions of the enjoyment frequency array. Questions were asked in the Rogerian style of non-assertiveness. Questions focused on (a) particularities about the recordings, (b) feelings, and (c) experienced meanings.

The Questionnaire—Part Two

Respondents were then asked to complete a questionnaire consisting of the following information: (a) The level of country music fan they claim to be on a scale of +3 to -3;

(b) demographic information consisting of gender, age,

income, and education; (c) a self-description; (d) a short survey on social desirability; (e) radio and television 43 listening habits;, and (f) a question on recordings purchasing habits. The total time for respondents to sort the recordings twice, answer the probe questions, and complete the short survey was approximately 60 to 90 minutes.

The variance being primarily due to the length of answers to the probe questions.

Data Analysis Procedures

There were 50 respondents, 5 more than the 45 suggested by the stratified quota system guidelines. Therefore, data consists of the rank scores of the 50 respondents who assigned indexes to the 60 recordings. Scores were typed

into a raw data array for analysis. The raw data matrix was transposed. A Q-Correlation matrix of 50 by 50 indicated similarity of respondent choices based on expressed enjoyment.

The correlation matrix was analyzed by two independent methods of analysis: (a) McQuitty's elementary linkage analysis and (b) factor analysis with varimax rotation provided by SYSTAT Intelligent software. Schlinger (1965) assumed that a rough criterion of "meaning" is contingent on factor loading equaling or exceeding three times the standard error of a zero correlation (p. 58-59). In this study, the factors are based on a meaningful factor of approximately

.400. 44

The second method of analysis is provided by SYSTAT with a varimax rotation of the 50 by 50 correlation matrix. The correlation components were rotated to determine the possible

"enjoyment" factors or cluster patterns of the respondents.

According to Wilkinson (1989): Components are uniquely defined mathematically. Each is perpendicular to the others in the component space and each accounts for a maximum portion of the available variance (p. 77) .

The author selected the common respondents factored in the same types for both the McQuitty and SYSTAT methods of analysis. Hierarchy of recordings were the 6 (10%) and 12

(20%) recordings ranked by the respondents as "most" and

"least enjoy". Using the information from the data, the weighted scores from the factor arrays, and the demographic

information offered on the questionnaire, each theoretical type was analyzed for (a) what is most descriptive (about the types), (b) a comparison analysis of the types, and (c) what

(if anything) do the types have in common. CHAPTER V

RESULTS AND THEORETICAL CONCLUSIONS

Respondents

The respondents offer a diverse demographic broaa sample of country music listeners. Respondents' demographic information satisfied 66% of the stratified quota system guidelines. The 8 categories satisfied included: (a) the number of respondents interviewed, (b) female gender, (c) both the 18-34 and 35-54 age categories, (d) personal income categories of 0 to $19,999 and $20,000 to $34,999, and (e) the categories of high school and college education. The author interviewed 50 individuals, ages ranging from 14 to

69. Three respondents were under the age of 18.

A correlation of the recordings respondents selected as most and least enjoy indicates the levels of agreement or disagreement for each recording. Correlations of .400 and above are considered a meaningful agreement by the respondents of the sample. The author checked the data arrays to observe if the respondents' meaningful correlations indicated a positive (most enjoy) or a negative (least enjoy)

45 46 agreement. Results appear to indicate which recordings respondents enjoyed at similar levels. However, a correlation of recordings does not provide information on the preferences of each of the individual respondents. It does not indicate which theoretical types of respondents favor various recording formats. The author takes an additional step in the research (as suggested earlier) by transposing the correlation matrix for a Q-tecbnique analysis. Instead of analyzing the correlation of records respondents selected, Q-technique allows for the correlation of the respondents, based on their selections of recordings most and least enjoyed. 47

Table 4. Country Music Listener Respondents Demographics.

Education | High School or less 17 =.34% I Attending College I or additional training ....10 =.20% I College graduate or more....18 =.3 6% | Respondents under 18 3 =.0 6% | No education level reported 2 =.04%

McQuitty and SYSTAT Theoretical Types

Data consists of 50 respondents who ranked the 60

recordings based on experienced enjoyment. The McQuitty and

SYSTAT analysis results of the data revealed similar patterns

of relationships among the respondents. Seven types were

found. The majority of respondents in 6 of the 7 McQuitty types were supported by the SYSTAT varimax rotation analysis.

The SYSTAT analysis did reveal a 7th type; however, the 48 components (respondents) were different from the respondents listed in the McQuitty type 7.

31 36. 48 > 32 ./ 38 —> 42- §35 <—> 47^ 39 46 40 43

Figure 5. McQuitty Type 1: Positive Romantics. Highest entry are respondents 35 and 47 with a correlation of (.642). First cousins to respondent 47 are respondents 1 (.403) and 46 (514). First cousins by respondent 35 are 36 (.452), 42 (.614), and 43 (.448). Second cousins by respondent 42 are 31 (.545), 32 (.514), 38 (.518), 39 (.397), and 40 (476). Third cousin by respondent 32 is 48 (.452). *Note that respondent 39 is included with a score slightly below .400.

16 <—> lit K 37

Figure 6. McQuitty Type 2: Old Gold Dabblers. Highest entry are respondents 16 and 17 with a correlation of (.696). First cousins by respondent 17 are 7 (.493) and 20 (.465). Second cousin by respondent 20 is 37 (.459). 49- ~—^26 ^8 <~> 9

Figure 7. McQuitty Type 3: Urban Cowboys. Highest entry are respondents 8 and 9 with a correlation of (.591). First cousin by respondent 8 is 26 (.506). Second cousin by respondent 26 is 49 (.435).

23 24 <--> 25 21^

Figure 8. McQuitty Type 4: Beverly Hillbillies. Highest entry are respondents 24 and 25 with a correlation of (.611). First cousins by respondent 24 is 21 (.472). First cousin by respondent 25 is 23 (.511).

2 <—>-4

X 5 V 50

Figure 9. McQuitty Type 5: Trailblazers. Highest entry are respondents 2 and 4 with a correlation of (.541). First cousins by respondent 4 are 3 (.491) and 5 (.521). Second cousin by respondent 5 is 50 (.404). 50

11 <— 30 15 13 <~> 14 < 27 34 44

Figure 10. McQuitty Type 6: Star-Struck Boppers. Highest entry are respondents 13 and 14 with a correlation of (.576) . First cousins by respondent 14 are 11 (.459), 15 (.545), 27 (.448), 34 (.552), and 44 (.535) . Second cousin by respondent 11 is 30 (.444) .

10 <—>45

Figure 11. McQuitty Type 7: Marlboro's. Highest entry are respondents 10 and 14 with a correlation of (.474) . There are no first or second cousins. * Note the varimax rotation factors listed the respondents of type 7 as 11 (.474), 21 (.472), and 30 (.444).

Table 5. SYSTAT Varimax Rotation "Types

Type 1 Type 2 Type 3 Type 4 Positive Old Gold 1Jrba n Cowboy s Beverly Romantics Dabblers Hillbillies 35 7 8 12 38 16 9 23 40 17 26 24 42 20 31 25 43 37 49 46 45 47 48

Type 5 Type 6 Type 7 Trai lblazers Star--Struc= k Boppers Marlboro's 2 13 11 3 14 21 4 15 30 5 33 34 44 51

Common McQuitty And SYSTAT Respondent Types

The author selected the common respondents factored in the same types for both the McQuitty and SYSTAT methods of analysis. An exception is the 7th type which was based on the McQuitty type 7 titled "Marlboro's."

Table 6. Common Theoretical Country Music Type Respondents Devised from McQuitty's Elementary Linkage Analysis and SYSTAT Factor Analysis with Varimax Rotation.

Type 1 Type 2 Type 3 Type 4 Positive Old Gold Urban Cowboys Beverly Romantics Dabblers Hillbillies

35 7 8 23 38 16 9 24 40 17 26 25 42 20 49 43 37 46 47

Type 5 Type 6 (McQuitty Type 7) Trailblazers Star-Struck Boppers Marlboro's 2 13 10 3 14 45 4 15 5 34 44

Theoretical Country Music Listener Types

The author analyzed each factor type into general typalogies using the data and following guidelines: (a) what was most descriptive about the types, (b) a comparison 52 analysis of how the types are similar and different, and (c) what, if anything, do all the types have in common.

Recordings in the frequency arrays were averaged for the

12 recordings in the extreme positions of each type. The hierarchy of recordings are based on both the 10% and 20% level of the "most" and "least enjoy" recordings. To assist the reader, the following brief terms have been assigned to each recording format.

Table 7. Recording Format Terms. *Note the first word refers to the type of artist presentation, the second term to the theme of the song, and the third, simple or complex, refers to the production.

ADF Happy/dedicat ed love/simple ADG Happy/dedicat ed love/complex AEF Happy/want ing love/simple AEG Happy/want ing love/complex BDF Hurting/lost love/simple BDG Hurting/lost love/complex BEF Hurting/cheat ing love/simple BEG Hurting/cheat ing love/complex CDF Philosophical /life/simple CDG Philosophical /life/complex CEF Philosophical /identification/simple CEG Philosophical /identification/complex

Respondents were asked probe question about the four recordings placed into the extreme positions of the frequency arrays. Using the data as a guide, the author analyzed the hierarchy of recordings, the comments from the probe questions, and the demographic information from the questionnaires to define the following theoretical country 53 music listener types. The data indicates that a communicative relationship does exists between the content and style found in various country music recordings and consumer preferences based on enjoyment.

Type 1: Positive Romantics

Kelly suggests that "relevant similarities and differences together form the essence of a construct" (p.

108). Constructs can be shared and common themes can be used to establish a title that represents the majority of respondents. The title assigned to each theoretical country music listener type is a generalization of the common themes found in the recordings selected as most enjoyed by the respondents.

Type 1, or "Positive Romantics," appear to use the recordings as events to define or elaborate their constructs of "happy love." They appear to phrase their experience

(from listening to the recordings) as a validation of their expectations of the romantic relationship and characteristics of the idealized significant other.

In general, there are three lyric content themes in the

12 recordings selected as most enjoyed. They are security in the relationship, sexual satisfaction, and suggestive characteristics of the significant other. Positive Romantics enjoy recordings that stress security in the relationship as defined by the themes of faithfulness, everlasting, satisfied 54 love, and personal acceptance. Lyrics included: "The love I give is yours"; "I'm going to love you forever"; "Ain't it great to have a love no one else can find"; "Worlds gone crazy"; "I wouldn't change a thing about you"; "Crazy for you"; "Here is where I will always be"; and "I will always love you."

Sexual satisfaction is found in the lyrics of "You're the only one who can"; "I will always need your love"; "You belong to me"; "Come on let's go now, turn out the light, and love me tonight"; "All the best things in life are

free"; and "We'll be shadows in the moonlight, hand and hand, dancing through the Milky Way."

Characteristics cf the significant other appear to

include honesty, simplistic traditional values, hard work,

and at times parental advice. Lyrics include: "Tell me ^bout the good old days when things didn't seem so hazy";

"Underneath, I'm just a cotton picker, find a horse and cart,

I'm just a country boy at heart"; and "Stay young, keep the wheels in motion." Artists' presentations are passionate as defined by the positive terms of happy, excited, joyful, affectionate, and enthusiastic. Production most enjoyed is

simple due to the instrumentation and mix levels.

Positive Romantics appear to seek (from the recordings) honesty and expressive men who can declare their love for them. They favor traditional values, yet men who find them 55

sexy and desirable. They appear to want to share their lives with a significant other and to find acceptance, advice, and

support from the relationship. Trust, acceptance, honesty, and desirability appear to be important.

Positive Romantics have a self-proclaimed fan level of

2.57 out of a maximum of +3. Eighty-six percent of the

respondents were +3 and 14% rated their fan level interest at

zero. Seventy-one percent of the respondents listen to country music 20 to 40 hours per week. Eighty-six percent

listen only to Columbus radio station WHOK. Seventy-one percent have The Nashville Network on their cable television

system. Of the 71%, 14% watch The Nashville Network 10 hours a week, and 14% watch it 4 hours a week. All the respondents

were female. Fourteen percent were ages 18-34, 71% were 35-

54 and none were over 55. Another 14% were under the age of

18. Forty-three percent have an income of $0-19,999, another

43% earn $20,000 to $34,000 and 14% have an annual income

over $35,000. Forty-three percent have a high school

education, (14% of the group are still in high school), 28.5%

have some college, and another 28.5% are college graduates.

Positive Romantics listen to country music at various times most of the day from 6 a.m. to 12 p.m. They listen at home,

in their cars, and sometimes at work. 56 Table 8. Positive Romantics "Most Enjoy" recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Randy Travis 4 Forever And Ever, Amen ADF 13.5 2. Alabama 18 Take Me Down AEG 12.4 3. Aaron Tippin 4 8 You've Got To Stand For Something CDG 12.2 4. Alabama 7 She And I ADG 12.1 5. Dolly Parton 1 I Will Always Love You ADF 12.0 6. The Judds 4 4 Grandpa Tell Me 'Bout The Good Old Davs CEF 11.7

7. Ricky Skaggs 52 Country Boy CEF 11.7 8. Ricky Skaggs 3 I Wouldn't Change You If I Could ADF 11.0 9. Don Williams 43 CDF 10.1 10. Don Williams 12 (Turn Out The Light and) Love Me Tonight AEF 10.1 11. Kenny Rogers 2 Crazy ADF 10.1 12. Anne Murray 17 Shadows In The Moonlight AEG 9.7

Table 9. Positive Romantics "Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. K.D. Lang 2 6 Three Days BDG 2.5 2. Hank Williams 31 Your Cheatin' Heart BEF 3.1 3. Hank Williams 24 I Can't Help It If I'm Still In Love With You BDF 3.8 4. Marty Robbins 34 Devil Woman BEF 4.1 5. Brenda Lee 25 I'm Sorry BDF 5.0 6. Hank Williams Jr.32 Whiskey Bent And Hell Bound BEF 5.4

7. Tom T. Hall 41 Old Dogs, Children And Watermelon Wine CDF 5.4 8. Barbara Mandrell 10 Crackers ADG 5.4 9. Johnny Paycheck 4 5 Take This Job and Shove It CDF 5.4 10. George Jones 15 I Always Get Lucky With You AEF 5.5 11. Tammy Wynette 21 D-I-V-O-R-C-E BDF 5 .5 12. John Anderson 35 Your Lying Blue Eyes BEF 5.7 57 Table 10. Positive Romantics "Most Enjoy ' Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Slumbe r of times Percent Selected 1. ADF Happy/dedicated love/simple 2 33.3% 2. ADG Happy/dedicated love/complex 1 16 6% 3. AEG Happy/wanting love/complex 1 16.6% 4. CDG Philosophical/life/complex 1 16.6% 5. CEF Philosophical/identification/simplsiiti piee 1 16.6%

Most Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected 1. ADF Happy/dedicated love/simple 5 41 6% 2. ADG Happy/dedicated love/complex 1 8 3% 3. AEG Happy/wanting love/complex 2 16 6% 4. CDF Philosophical/life/simple 1 8 3% 5. CDG Philosophical/life/complex 1 8 3% 6. CEF Philosophical/identification/simple 16 6%

Table 11. Positive Romantics "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected 1 BDF Hurting/lost love/simple 2 33.3% 2 BDG Hurting/lost love/complex 1 16.6% 3 BEF Hurting/cheating love/simple 3 50.0%

Least Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected 1. ADG Happy/dedicated love/complex 1 8.3% 2. AEF Happy/wanting love/simple 1 8.3% 3. BDF Hurting/lost love/simple 3 25.0% 4 . BDG Hurting/lost love/complex 1 8.3% 5. BEF Hurting/cheating love/simple 4 33.3% 6. CDF Philosophical/life/simple 2 16.6% 58 Positive Romantics selected ADF (happy, dedicated love songs with simple production) recordings (41%) from the list of recordings most enjoyed. Respondents appear to most enjoy country music recordings consisting of passionate recording artist presentations (coded A), songs consisting of traditional values (coded D), and simple production (coded F). Positive Romantics also enjoy ADG, AEG, CDF, CDG, and CEF types of recordings. ADG are defined as: passionate types of artist presentations, songs with traditional values, and complex production. AEG are defined as: passionate types of artist presentations, songs dealing with contemporary issues, and complex production. CDF are defined as descriptive artist presentations, songs about traditional values and simple production. CDG are descriptive artist presentations, songs about traditional values and complex production, and CEG are descriptive artist presentations, contemporary issues, and complex production. Positive Romantics respondents appear to least enjoy the BDF (25%) and BEF (33%) recordings. Together, BDF and BEF account for 58% of the 12 "least enjoy" recordings. BDF consists of heartbroken artist presentations (coded B), songs whose messages contain either traditional values (coded D) or contemporary issues (coded E), and simple production (coded F). BDF are defined as (hurting, lost love songs with simple 59 production). BEF are (hurting, cheating love songs with

simple production).

Positive Romantics are dedicated country music fans.

They are woman, mostly early to middle age and appear to use

their "most enjoy" country music recordings to define

constructs of "idealistic romantic relationships." Comments

from the probe questions answered by Positive Romantics

respondents support Kelly's Choice Corollary. For example,

respondent # 38's comments about her "most enjoy" selections of Ricky Skaggs' (3) I Wouldn't Change You If I Could and

Alabama's (7) She And I appear to define or elaborate her

attitude of mind about romantic relationships. She comments:

(Skaggs): I like the message, two people just right for each other. It holds a special meaning for me, true love for a special couple. It makes me feel good, anytime. (Alabama): I like the couple (love lyrics). It makes me feel good. It is a song for two people.

Additional comments from the probe questions appear to

support Kelly's Choice Corollary. Respondent # 35 enjoyed

Randy Travis's Forever And Everr Amen because it "makes me

think of my anniversary. It makes me feel great."

Respondent # 40 explains her selection of Conway Twitty's (13) I'd Love To Lay You down: "It makes me feel like being

in love with someone." Respondent # 4 6 describes her

feelings about her most enjoyed selections of Randy Travis (4) Forever & Ever, Amen and Aaron Tippin's (48) You've Got

To Stand For Something: (Travis): "It makes me feel happy, loved." (Tippin): "It makes me feel patriotic, happy and proud." Respondent # 47 states that Randy Travis' (4)

Forever And Ever, Amen "makes her feel happy" and that

Alabama's She And I makes her feel "hopeful."

Positive Romantics least enjoy heartbroken hurting

(coded B), recordings. Respondent # 42 dislikes Hank William

Jr.'s. Whiskey Bent And Hell Bound because of the "topic of the song. It makes me sad." She also panned Brenda Lee's recording of I'm Sorry because it's "too sad, and it makes me feel sad." Respondent #46 least enjoyed K.D. Lang's Three

Days: "It's too sad and twangy and it makes me feel sad and bored." Respondent # 47 didn't enjoy Marty Robbins' (34)

Devil Woman claiming: "It's dumb. It makes me feel confused and distraught." Even a non-romantic recording with a negative message is not enjoyed by some respondents in type one. Respondent # 40 states Johnny Paycheck's recording of

Take This Job and Shove It makes her "feel (have) a negative attitude."

The majority of Positive Romantics are middle aged women

35 to 54 years old. They are "heavy" listeners of country music recordings. They listen at various intervals from 6 a.m. to 12 midnight, and the majority watch The Nashville

Network on their cable television systems. They listen at home, in their cars, and at work. Seventy-one percent listen

20 to 40 hours a week. Type one respondents are termed 61

"Positive Romantics" since they most enjoy ADF recordings.

ADF recordings are defined as happy/dedicated love songs with simple musical production. They least enjoy BEF recordings

(hurting, cheating love with simple production), which focus on hurting or lost love as contemporary issues and simple production.

Positive Romantics are most similar to Star-Struck

Boppers. Both groups are composed solely of women. They are both "heavy consumers" of country music recordings. Positive

Romantics are generally older (34-54) compared to the respondents in Star-Struck Boppers (18-34). They appear to most enjoy passionate recording artist presentations, songs about traditional values (happy/dedicated love), and simple production techniques (ADF). ADF recordings are also most enjoyed by Old Gold Dabblers, Beverly Hillbillies,

Trailblazers, and Star-Struck Boppers. Positive Romantics also most enjoy AEG (happy, wanting love, romance, or sex message songs with complex production), which are least enjoyed by Urban Cowboys. Positive Romantics least enjoy BEF

(hurting, cheating love songs with simple production) and BDF

(hurting, lost love songs with simple production). BEF are also least enjoyed by Old Gold Dabblers and Star-Struck

Boppers. Positive Romantics are most similar to Star-Struck

Boppers and least similar to Old Gold Dabblers, Urban

Cowboys, Beverly Hillbillies, Trailblazers, and Marlboro's. 62 Type 2: Old Gold Dabblers Old Gold Dabblers appear to use the country music recordings to define or elaborate their visions of personal identity and of life or "living" in America. They appear to phrase their experiences as attitudes or adventures, which are mostly positive affirmations of simple idealistic daily lifestyles in our "country." However, they also appear to enjoy romantic "happy" love and "cheating" love themes found in some of the recordings. Old Gold Dabblers selected recordings popular in the past. They appear to define country music by the crossover recordings found on non- country music radio stations instead of the types of recordings currently being played on country music stations. They prefer all three types of artist presentations— passionate, heartbroken, and descriptive. They most enjoyed songs with both traditional and contemporary themes and complex musical productions. What appears to define the theoretical type the best is their preference for old "classic" crossover country music recordings and their light listening habits. Identity and "living" themes that appear to provide an adventure are found in the lyrics of "Good Morning, America how are you? Don't you know me, I'm your native son. I'm a train. . . called the city of New Orleans"; "Starry summer's night, and a snow covered winter's day"; and Roger 63

Miller's "Third boxcar, midnight train, destination Bangor

Maine.

Descriptive, identity, and attitude themes are found in the lyrics of "Everything is beautiful," "Every gambler know the secrets to survival," "Old worn out suit and shoes, I don't pay no union dues, I'm a man of means by no means King of the road," and "I'm a stand by my woman man."

Happy love themes (unconditional love) are found in the

lyrics of "You can eat crackers in my bed anytime," "I will

always love you," "I'm a stand by my woman man," "She believes in me," and "I guess I'm crazy, crazy for you can't

you see."

Cheating love themes are found in the lyrics of "Ruby, don't take your love to town," and "He knows where she is going, she's headed for the cheating side of town."

Respondents are among the most educated from the sample. The author speculates that Old Gold Dabblers may be using the country music recordings as a form of subjective play

(escapism), from their busy lifestyles. The recordings appear to provide descriptive opportunities for the respondents to construe adventure, identity, attitudes, and relationships defined as happy love and cheating love.

Old Gold Dabblers have a self-proclaimed fan level of

1.40 out of a maximum of +3. None of the respondents were at the +3 level, 40% were at the +2 level and 60% claimed +1. 64

Twenty percent of the respondents listen to country music 5 hours a week, the remaining 80% only approximately 1 hour a week. Forty percent listen to WOSU, 60% to a variety of

radio stations. None of the respondents have The Nashville

Network. Forty percent are male, 60% female. Forty percent

are ages 18-34, 60% are 35-54, and none are over 55. Forty percent have incomes of $0-19,999 and 40% earn over $35,000.

Twenty percent did not report personal income. Forty percent have a high school degree and 60% have a college degree. Old

Gold Dabblers listen to country music rarely or only on

special occasions while in the car or in restaurants. 65

Table 12. Old Gold Dabblers "Most Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Willie Nelson 58 City Of New Orleans CEG 13.2 2. Ray Stevens 50 Everything Is Beautiful CDG 12.8 3. Kenny Rogers 4 9 The Gambler CEG 12.6 4. Roger Miller 55 King Of The Road CEF 21.2 5. Kenny Rogers 9 She Believes In Me ADG 11.8 6. Kenny Rogers 2 Crazy ADF 11.6

7. The Eagles 3 9 Lyin' Eyes BEG 11 8. Anne Murray 17 Shadows Tn The Moonlight AEG 11 9. Kenny Rogers 36 Ruby, Don't Take Your Love To Town BEG 11 0 10. Barbara Mandrell 10 Crackers ADG 10 4 11. Dolly Parton 1 I Will Always Love You ADF 10 4 12. Ronnie Milsap 8 I'm A Stand By My Woman Man ADG 10.2

Table 13. Old Gold Dabblers "Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. K.D. Lang 2 6 Three Days BDG 2.57 2. Hank Williams 31 Your Cheatin' Heart BEF 3.14 3. Hank Williams 2 4 I Can't Help It If I'm Still Tn Love With You BDF 3.85 4 . Marty Robbins 34 Devil Woman BEF 4.10 5. Brenda Lee 25 I'm Sorry BDF 5.00 6. Hank Williams Jr 32 Whiskey Bent And Hell Bound BEF 5.42

7. Tom T. Hall 41 Old Dogs, Children And Watermelon Wine CDF 5.42 8. Barbara Mandrell 10 Crackers ADG 5.42 Take This Job and 9. Johnny Paycheck 4 5 Shove It CDF 5.42 I Always Get Lucky With 10. George Jones 15 You AEF 5.57 D-I-V-O-R-C-E BDF 5.57 11. Tammy Wynette 21 Your Lvina Blue Eves BEF 5.71 12. John Anderson 35 66

Table 14. Old Gold Dabblers "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected ADF: Happy/dedicated love/simple 1 16.6% ADG: Happy/dedicated love/complex 1 16 6% CDG: Philosophical/life/complex 2 33.3% CEF: Philosophical/identification/simple 1 16.6% CEG: Philosophical/identification/complex 1 16.6%

Most Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected ADF: Happy/dedicated love/simple 2 16.6% ADG: Happy/dedicated love/complex 3 25.0% AEG: Happy/wanting love/complex 1 8.3% BEG: Hurting/cheating love/complex 2 16.6% CDG: Philosophical/life/complex 2 16.6% CEF: Philosophical/identification/simple 1 8.3% CEG: Philosophical/identification/complex 1 8.3%

Table 15. Old Gold Dabblers "Least Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected AEF: Happy/wanting love/simple 2 33.3% BDF: Hurting/lost love/simple 1 16.6% BDG: Hurting/lost love/complex 2 33.3% BEF: Hurting/cheating love/simple 1 16.6%

Least Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected ADF: Happy/dedicated love/simple 1 8.3% ADG: Happy/dedicated love/complex 1 8.3% AEF: Happy/wanting love/simple 2 16.6% AEG: Happy/wanting love/complex 1 8.3% BDF: Hurting/lost love/simple 2 16.6% BDG: Hurting/lost love/complex 2 16.6% BEF: Hurting/cheating love/simple 2 16.6% CEG: Philosophical/identification/complex 1 8.6% 67

Old Gold Dabblers most enjoy ADG theoretical recordings.

ADF, ADG, and AEG combined were Old Gold Dabblers top (50%)

"most enjoy" recordings. Old Gold Dabblers appear to prefer recordings consisting of passionate recording artist presentations (coded A), songs consisting of traditional values (coded D), and complex production (coded G). They are defined as ADF (happy, dedicated love songs with simple production), ADG (happy, dedicated love songs with complex production), and AEG (happy, wanting love, romance, or sex types of songs with complex production). Type 2 (Old Gold

Dabblers) also prefer country music recordings that consist

of a descriptive artist presentation (coded C), songs with

either traditional or contemporary issues (Coded D and E),

and complex production (coded G). Some Old Gold Dabblers

also enjoy BEG recordings. They consist of the recording's

independencies of heartbroken artist presentations (coded B),

songs about contemporary issues (coded E) and complex production (coded G).

Old Gold Dabblers appear to enjoy least the BDF

(hurting, lost love with simple production), BDG (hurting,

lost love with complex production), and BEF (hurting, cheating love with simple production) types of recordings.

Combined they account for 50% of the top 12 "most enjoy" recordings. However, type two respondents also reject ADF,

ADG, AEF, and AEG (happy, dedicated love with either simple 68 or complex production and happy, wanting love, romance or sex with either simple or complex production) with a combined score of 41.6%. In addition, one respondent did not prefer the CEG (philosophical, identification with complex production). Old Gold Dabblers appear to know what they enjoy more than what they do not enjoy. The average scores assigned to the least enjoy recordings by the respondents of

Old Gold Dabblers were higher than other respondent types.

Old Gold Dabblers appear to least enjoy recordings consisting of heartbroken artist presentations (coded B), songs about either traditional values or contemporary issues (coded D and

D) , and simple production (coded F) .

Old Gold Dabblers have a superficial or intermittent interest in country music. They are not serious country music fans and only occasional listeners. Eighty percent

listen only 1 hour per week. However, they do listen to other formats of music and they do listen to some country music. Old Gold Dabblers appear to enjoy and recognize country music by the crossover recordings they may have heard on rock or pop radio stations. Old Gold Dabblers "most enjoy" songs with romantic philosophical messages, dedicated, happy or cheating relationships combined with a rock or pop type of musical production. They appear to reject traditional country music with the twangy, sad artist 69 presentations. Answers to the probe questions appear to

support Kelly's Choice Corollary.

Respondent # 7 states that he liked Ray Steven's

Everything Is Beautiful because it "makes me feel happy and

content." He enjoys The Eagles' Lyin' Eyes because "It makes me feel contentment and satisfaction." Respondent # 20

enjoys Kenny Rogers' She Believes In Me because she "likes the feeling of appreciation and awareness of his potential, but in a humble way with awe." Respondent # 16 explains that

Kenny Rogers' Crazy; "creates a nice warm loving feeling."

She also claims that Barbara Mandrell's Crackers "reminds me of the good times joking around with my friends in the past."

Respondent # 37 enjoys Loretta Lynn's Coal Miner's Daughter.

She explains, "it's about life, but it has a happy feeling.

It make me feel good." Both respondents # 37 and # 20 enjoy

John Denver's Thank God I'm A County Boy because it makes them "feel good." Respondent # 20 adds "I like his self

confidence and definition of this is the way I was created and need to be."

Old Gold Dabblers least enjoy hurting, negative country music recordings by artists with twangy voices. Respondent #

16 states that Hank Williams Sr.'s Heyf Good Lookin' "reminds me of cat calls and I hate the lyrics." She also claims that

Tammy Wynettes' D-I-V-O-R-C-E "turns me off. It is kind of

sad. I don't like the twangy voice, crying in my beer type 70 of song. It bums me out." Respondent # 16 reveals that

Marty Robbins' Devil Woman "makes me feel disappointed, kind of sad." Respondent #17 suggest that Aaron Tippin's voice in

You've Got To Stand For Something "sounds like a wounded

animal." Respondent # 20 claims that Tom T. Hall's I Love

"sounds so false." She describes Alabama's She And I as:

A rather simple minded look at life. It is a nice product. However, I don't like the use of the language. Ain't it great, ain't it fine is not very clever. It doesn't give me confidence in where it is going. I think her and me would have been better.

Type 2 respondents are termed dabblers since they rarely

listen to country music recordings. Eighty percent claim to

listen only one hour per week, 20% listen 5 hours per week.

None of the respondents subscribe to The Nashville Network.

They define country music by their level of exposure to the music, as opposed to the music itself. Old Gold Dabblers

listen to and enjoy recordings that are considered

opportunistic by hard-core fans. While respondents enjoy the

country music they listen to, they rarely listen to country music radio stations. Instead, they listen to pop or educational stations and define country music by what they hear on these corresponding stations. Sixty percent have a

college education. Old Gold Dabblers most enjoy ADG (happy, dedicated love songs with complex production) and least enjoy

BEF (hurting, cheating love with simple production), BDF and

BDG (hurting, lost love with either simple or complex 71 production), and AEF (happy, wanting love, romance, or sex with simple production).

Old Gold Dabblers are similar to Positive Romantics, with preferences for ADF types of recordings and to Star-

Struck Boppers, with their selection of ADG types of recordings. However, Old Gold Dabblers are "light" country music consumers (80% only listen 1 hour a week), while

Positive Romantics and Star-Struck Boppers listen much of the day. Old Gold Dabblers do not consider themselves to be

strong country music fans (fan level of 1.4, the lowest of

all 7 types).

Old Gold Dabblers compares to Trailblazers, in the

respondents' college educational levels and "light" listening habits. Old Gold Dabblers least enjoy BEF (hurting, cheating

love songs with simple production), BDF (hurting, lost love

songs with simple production), BDG (hurting, lost love songs with complex production), and AEF (happy, wanting love,

romance, sex message songs with simple production). BEF was

also selected by Star-Struck Boppers as least enjoyed. It is most enjoyed by Urban Cowboys and Beverly Hillbillies. BDF was least enjoyed by Positive Romantics, Trailblazers, and

Marlboro's. BDG was also least enjoyed by Beverly

Hillbillies and Marlboro's. Old Gold Dabblers are the only group of respondents to select AEF as least enjoyed. Old

Gold Dabblers are most similar to Trailblazers, due to (a) 72 the types of recordings they selected as most and least enjoyed, (b) their levels of education, and (c) their light listening habits. Old Gold Dabblers are least similar to

Positive Romantics, and Star-Struck Boppers.

Type 3: Urban Cowboys

The term Urban Cowboy is derived from the movie with the same name. Urban Cowboys (including females) are the respondents who appear to use country music recordings to construe a rugged cowboy lifestyle within an urban setting.

They are the cowboys who drive their pickup trucks (with the gunrack in the rear window) on the freeways in Los Angeles.

Urban Cowboys phrase their experience from the cowboy hero

fantasy set within modern times. The lyric contents of the

recordings most enjoyed by Urban Cowboys are a complex mixture of "happy love," "hurting love," "cheating love," and

"living." The recurring identity (individualistic) themes, which appear to comprise the personality of the Urban Cowboy,

include hard drinking and partying, a desire for romance or

sex, and love expressions ranging from satisfied love to lost

love and cheating.

Descriptive lifestyle identity themes are found in the

lyrics of: "All that matters are good friends, good whiskey and good Lovin'"; "I get whiskey bent and hell bound"; "I'm a honky tonk man, and I can't seem to stop. . . give the girls a whirl to the music on the old juke box"; "Hey, good lookin' 73 what you got cooking, how about cooking something up with me.

I got a hot rod Ford and a two dollar bill. . . so if you want to have fun, come along with me"; "If you getting no huggin', no smoochin' or a muggin', if you ain't lovin', you ain't livin'"; "I always get lucky with you"; and "The only two things in life that make it worth livin' are guitars in tune and firm feeling women."

Cheating love themes are found in the lyrics: "I got a good woman at home, but sometimes Lord she just ain't always around. And you know, that's when I fall, I get whiskey bent and hell bound"; and "Your cheatin1 heart will make you weep.

You'll cry and cry and try to sleep. . . your cheatin' heart will tell on you."

A hurting (lost love) theme is found in the lyrics "I've got your picture that you gave to me, and it's signed with love just like it used to be. . . . I've got your picture, she's got you."

Happy love themes are found in the lyrics: "I wouldn't change a single thing about you if I could. The way you are just suits me to a tee"; and "I always get lucky with you";

Ain't it great, ain't it fine to have a love. . . others can't find. All we need is the two of us."

Urban Cowboys appear to celebrate life. The author speculates that they are often individualistic, aggressive, proud individuals who enjoy friends and partying. They may 74 be optimistic, enthusiastic, and sometimes boastful. They are honest and up front about their feelings and opinions. Urban Cowboys has a self-proclaimed fan level of 2.50 out of a maximum of +3. Fifty percent of the respondents were +3 and 50% rated their fan level interest at +2. Fifty percent of the respondents listen to country music 40 hours per week. Twenty-five percent 10 hours per week and 25% listen 3 to 4 hours a week. Seventy-five percent listen to radio station WHOK and the remaining 25% listen to a variety of radio stations. One hundred percent report that they listen to radio stations more than 50 hours a week. One hundred percent have The Nashville Network. Fifty percent watch it 2-4 hours per week, 25% more than 5 hours per week and the remaining 25% less than 30 minutes a week. Seventy- five percent are males. All the respondents are 35-54 years old. Seventy-five percent have incomes of $20,000 to 34,000. The remaining 25% earn from $0-19,999 annually. Fifty percent have a high school education, 25% have some college and 25% are college graduates. Urban Cowboys listen to country music most of the day, from 6 a.m. until midnight. They listen at home, in their cars, and at work. On the weekends, they listen in their cars only in the morning and late afternoon. 75 Table 16. Urban Cowboys "Most Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Hank Williams Jr 32 Whiskey Bent and Hell Bound BEF 13 2. Hank Williams Sr 31 Your Cheatin' Heart BEF 12 3. Hank Williams Jr 42 Good Friends, Good Whiskey and Good Lovin' CDF 12.2 Ricky Skaggs I Wouldn't Change You If I Could ADF 12 5 Dwight Yoakam 60 I'm A Honky Tonk Man CEG 12 6 Ricky Skaggs 52 Country Boy CEF 11

7. Hank Williams Sr.ll Hey, Good Lookin' AEF 11.5 8. George Strait 47 If You Ain't Lovin' You Ain't Livin' CDG 11,. 0 9. Patsy Cline 12 She's Got You BDF 11,. 0 10. George Jones 15 I Always Get Lucky With You AEF 10,. 7 11. Waylan Jennings 46 Luckenbach Texas CDG 10,. 2 12. Alabama 7 She and I ADG 10,. 0

Table 17. Urban Cowboys "Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. K.D. Lang 2 6 Three Days BDG 2.2 2. Barbara Mandrell 10 Crackers ADG 2.2 3. John Denver 54 Thank God I'm A Country Boy CEF 2.5 4. Roger Miller 55 King Of The Road CEF 3.2 5. Ray Stevens 50 Everything Is Beautiful CDG 3.5 6. Jerry Lee Lewis 20 Chantilly Lace AEG 4.5

7. Sylvia 40 Nobody BEG 5.0 8. Brenda Lee 2 5 I'm Soryy BDF 5.7 9. K.T. Oslin 59 80's Ladies CEG 6.0 10. Johnny Paycheck 45 Take This Job And Shove It CDF 6.0 11. Kenny Rogers 9 She Believes In Me ADG 7.5 12. Ronnie Milsap 19 Daydreams About Night Things AEG 7.5 76 Table 18. Urban Cowboys "Most Enjoy" Country Music Recording Formats at the Top 10% and 2 0% Levels of Experienced Enjoyment.

Types Number of times Percent Selected ADF Happy/dedicated love/simple 1 16.6% BEF Hurting/cheating love/simple 2 33.3% CDF Philosophical/life/simple 1 16.6% CEF Philosophical/identification/simple 1 16.6% CEG Philosophical/identification/complex 1 16.6% Most Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected ADF Happy/dedicated love/simple 1 8.3% ADG Happy/dedicated love/complex 1 8.3% AEF Happy/wanting love/simple 2 16.6% BDF Hurting/lost love/simple 1 8.3% BEF Hurting/cheating love/simple 2 16.6% CDF Philosophical/life/simple 1 8.3% CDG Philosophical/life/complex 2 16.6% CEF Philosophical/identification/simple 1 8.3% CEG Philosophical/identification/complex 1 8.3% Table 19. Urban Cowboys "Least Enjoy" Country Music Recording Formats at the Bottom 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected ADG: Happy/dedicated love/complex 1 16.6% AEG: Happy/wanting love/complex 1 16.6% BDG: Hurting/lost love/complex 1 16.6% CEF: Philosophical/identification/simple 2 33.3% CEG: Philosophical/identification/complex 1 16.6%

Least Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected ADG: Happy/dedicated love/complex 2 16.6% AEG: Happy/wanting love/complex 2 16.6% BDF: Hurting/lost love/simple 1 8.3% BDG: Hurting/lost love/complex 1 8.3% BEG: Hurting/cheating love/complex 1 8.3% CDF: Philosophical/life/simple 1 8.3% CDG: Philosophical/life/complex 1 8.3% CEF: Philosophical/identification/simple 2 16.6% CEG: Philosophical/identification/complex 1 8.3% 77 Urban Cowboys selected AEF (happy, wanting love, romance, or sex type of songs with simple production), BEF (hurting, cheating love songs with simple production), and CDG (philosophical, attitudes or responses to life songs with complex production) as their most enjoyed country music recordings. Urban Cowboys appear to enjoy all three types of artistic presentations. They appear to enjoy passionate and heartbroken types of presentations (coded A and B), songs about traditional values and contemporary issues (coded D and E), and simple production. They also appear to enjoy country music recordings that consist of a descriptive artist presentation (coded C), with songs about either traditional values or contemporary issues (coded D and E), and simple production (coded F). Simple production appears to be meaningful for enjoyment preferences for Urban Cowboys respondents. Descriptive (lifestyle) recordings (CDF, CDG, CEF, and CEG) equaled 41.6% of the 12 most enjoyed recordings. In addition, Urban Cowboys selected passionate theoretical types (ADF, ADG, and AEF), 33.3% of the most enjoyed recordings. Twenty-five percent also selected heartbroken artist presentations. Urban Cowboys least enjoyed ADG, AEG, and CEF country music recordings. They appear to least enjoy complex production techniques. Sixty-six point six percent of the least enjoyed recording consisted of complex production (G). 78

Urban Cowboys also appear to least enjoy recordings consisting of either passionate (coded A) or descriptive artist presentations (coded C).

Urban Cowboys are 75% males, in their early thirties to middle fifties. Seventy-five percent have incomes in the

$20,000 to $34,999 range. Urban Cowboys appear to be hard core traditional country music fans. They appear to select the types of country music recordings that help them define or elaborate their concepts of interpersonal, sexual, and

romantic relationships. Comments from the probe questions

appear to support Kelly's Choice Corollary. Urban Cowboys

expressed an enjoyment range from happiness to sadness.

Eleven of the 12 recording artists selected as "most enjoy"

are males. Two of the recordings, Hank Williams Sr.'s Hey,

Good Lookin', and Dwight Yoakam's I'm A Honky Tonk Man, seem

to embody a desire or need for sexual or romantic bonds.

Three of the recordings, Ricky Skaggs I Wouldn't Change You

If I Could, George Jones' I Always Get Lucky With You, and

Alabama's She And I signify the appreciation of being in

love, the significant other, or involvement. Three

recordings are about cheating, lost or hurting love. They

are (a) Hank Williams Jr.'s Whiskey Bent And Hell Bound, (b)

Hank Williams Sr.'s Your Cheatin' Heart, and (c) Patsy

Cline's She's Got You. Three recordings, Hank Williams Jr.'s

Good Friends, Good Whiskey and Good Lovin', George Strait's 79

If You Ain't Lovin', You Ain't Livin', and Waylan Jennings'

Luckenbach Texas are about a Philosophy of life, love and romance. Respondent # 8 states that Ricky Skaggs' I Wouldn't

Change You If I Could "reminds me of the way I feel about my wife. It makes me feel good." Respondent # 9 asserts George

Jones' I Always Get Lucky With You has a special meaning for her and "makes me feel good." Respondent 2 6 reveals the

enjoyment he finds in listening to Hank Williams Sr.'s Your

Cheatin' Heart: "I like it because when I listen, it sounds

like it's a mirror image of life itself. It makes me feel

sad, like pig slop has been dumped on me, bad!" Respondent #

26 also enjoyed the sadness of Tom T. Hall's Old Dogs,

Children And Watermelon Wine. He states:

I like it because it is a story about a conversation and I could see that happening to me. It makes me feel sadness, because someone is reflecting on the past. Yet, I feel satisfied because he is singing about old dogs, women and watermelon wine as all he needs. I feel that he is talking to me.

Respondent #49 most enjoyed Alabama's She And I,

describing "I enjoy most the feeling of sheer enjoyment of the relationship. It makes me feel happy. It has a special meaning for me in a general sense."

Non-traditional country music recording artists (i.e.,

Ray Stevens, Jerry Lee Lewis, John Denver, Sylvia, Brenda

Lee, K.T. Oslin, and K.D. Lang) are least enjoyed.

Recordings about male freedom (i.e., Roger Miller' King Of 80

The Road), and women's perspectives (i.e., Barbara Mandrell's

Crackers, Sylvia's Nobody, Brenda Lee's I'm Sorry, K.T.

Oslin's 80's Ladies, and K.D. Lang's Three Days) seem to be least enjoyed. Respondents appear to dislike the artist personally if they do not think of him or her or the song as

"country." Respondent #26 describes his dislike for John Denver and the recording Thank God I'm A Country Boy as:

I don't like the song and I don't think John Denver is a country artist. I least enjoy it because it is light and lively. It's not a drinking, beating, getting drunk type of song. Respondent # 8 states that K.D. Lang (Three Days) "She pisses me off. I don't like her or any thing that she

sings." Respondent # 9 claims "I don't like K.D. Lang. I don't like to watch her sing. She makes me feel blah."

Respondent # 9 also comments about Roger Miller "If I didn't

dislike him so much, it (the song King Of The Road) might be

OK. Respondent # 26 also did not enjoy Barbara Mandrell's

Crackers. He reveals that "I don't like the message, unmarried in my bed anytime." Respond #49 least enjoyed Ray

Stevens' Everything Is Beautiful, stating "I'm sick of it.

It pushes the limit of optimism. It takes it too far, it is unrealistic."

Urban Cowboys are "heavy" consumers of country music recordings. Fifty percent listen 40 hours or more a week to country music recordings. They listen to country music stations at various times from 6 a.m. to 12 midnight. They 81 also listen to other formats of music, since 100% reported listening to various radio stations 50 hours a week. They all have The Nashville Network on their cable television systems. All the respondents are 35-54 years old. Seventy- five percent have incomes from $20,000-34,999. Fifty percent have a high school education. They most enjoy AEF (happy, dedicated love songs with simple production), BEF (hurting, cheating love songs with simple production), and CDG (philosophical, attitudes and responses to life songs with complex production). They least enjoy ADG, AEG and CEF recordings. Sixty-six percent least enjoy complex production techniques. They are "heavy listeners" as are Positive Romantics and Star-Struck Boppers. Urban Cowboys most enjoy AEF (happy, wanting love, romance, or sex theme songs with simple production), BEF (hurting, cheating love songs with simple production), and CDG (philosophical, attitudes and responses to life songs with complex production). Urban Cowboys are the only type to most enjoy BEF (hurting, cheating love songs with simple production) recordings. They and Old Gold Dabblers both enjoy CDG (philosophical, attitudes, responses to life songs with complex production). Urban Cowboys least enjoy ADG (happy, dedicated love songs with complex production), AEG (happy, wanting love, romance or sex theme songs with complex production), and CEF (philosophical, 82 identification songs with simple production). ADG is also least enjoyed by Marlboro's and Star-Struck Boppers. CEF is most enjoyed by Beverly Hillbillies and Marlboro's. The AEG types of recordings least enjoyed by Old Gold Dabblers are most enjoyed by Positive Romantics and Beverly Hillbillies. Urban Cowboys least enjoyes complex production by 66.6% of the 12 most enjoyed recordings. Urban Cowboys have similar listening habits to Positive Romantics and Star-Struck Boppers; however, they enjoy different formats of recordings. Urban Cowboys and Marlboro's both appear to enjoy AEF country music recordings and least enjoy ADG recordings. Urban Cowboys are most similar to Beverly Hillbillies and Marlboro's. They are least similar to Old Gold Dabblers and Trailblazers. Type 4: Beverly Hillbillies Beverly Hillbillies appear to use the recordings as events to define or elaborate their constructs of "happy love," "cheating love," and "identification." They appear to phrase their experience (from listening to the recordings) as a validation of their expectations or experiences of romantic relationships and lifestyle (economic) situations. They are country folks living in the city. They appear to have little money (unlike their television counterparts), but are rich in attitudes about life and their spouses. They are proud 83 people who have held onto their traditional country values and humor within an urban environment. Descriptive identity themes are found in the lyrics of: "Well a simple kind of life never did me no harm, a raising me a family and working on the farm"; "Thank God I'm a country boy"; "Old worn out suit and shoes, I'm a man of means by no means King Of The Road"; and "Every gambler knows the secret to surviving." Happy love themes are found in the lyrics of "And she believes in me"; "I guess I'm crazy, crazy for you can't you see"; "Here is where I want to be"; "I will always need your love"; "I will always love you"; "You're the one who moves me like no one else can"; "Take me down"; "I'm having daydreams about night things in the middle of the afternoon"; and "While my hands make a livin', my mind's home lovin' you. " Cheating love themes are found in the lyrics of "Oh Ruby, don't take your love to town"; "I told her about our great sin. Mary cried and forgave me. . . Oh devil woman, let me go"; and "You'll cry and cry and try to sleep. . . Your cheatin' heart will tell on you." The author speculates that Beverly Hillbillies may use the recordings to construe a sense of happiness. They are proud individuals often caught in poor economic situations. Country music recordings may provide them an opportunity to 84

"subjectively play" the "Beverly Hillbillies" as an "ideal" role model.

Beverly Hillbillies have a self-proclaimed fan level of

2.66 out of a maximum of +3. Sixty-six percent of them were

+3 and 33% rated their fan level interest at +2. Beverly

Hillbillies are the members of one family. Sixty-six percent of them listen to country music 10 or more hours per week,

33% 5 hours per week. Sixty-six percent listen only to radio station WMNI, 33% to various radio stations. Sixty-six percent watch The Nashville Network 6-10 hours per week, 33% do not watch it. Thirty-three percent are male, 66% women.

Ages range from 16 to 69 years old. All make between $0-

19,999. Overall, Beverly Hillbillies have limited country music listening habits. They listen only in the early morning or late evening. On weekdays they listen at home while getting ready for work and weekends in the car from 2-6 p .m. 85 Table 20. Beverly Hillbillies "Most Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Kenny Rogers 49 The Gambler CEF 14 .,0 2. Conway Twitty 22 Hello Darlin' BDF 13,. 6 3. Kenny Rogers 9 She Believes In Me ADG 13,. 3 4. Kenny Rogers 3 6 Ruby, Don't Take Your Love To Town BEG 12,. 3 5. Kenny Roger 2 Crazy ADF 12 .3 6. Dolly Parton 1 I Will Always Love You ADF 11 .3 7. Roger Miller 55 King Of The Road CEF 11 .0 8. Marty Robbins 34 Devil Woman BEF 11 .0 9. Alabama 18 Take Me Down AEG 11 .0 10 Ronnie Milsap 19 Daydreams About Night Things AEG 11.0 11 John Denver 54 Thank God I'm A Country Boy CEF 10 12 Hank Williams Sr.31 Your Cheatin' Heart BDF 10

Table 21. Beverly Hillbillies "Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores Hank Williams Jr.32 Whiskey Bent And Hell Bound BEF 1.6 2. K.D. Lang 2 6 Three Days BDG l. 6 3. Hank Williams Jr.42 Good Friends, Good Whiskey and Good Lovin' CDF 2.0 4. Ricky Skaggs 52 Country Boy CEF 3.6 5. John Anderson 35 Your Lying Blue Eyes BEG 3.6 6. K.T. Oslin 59 80's Ladies CEG 4.0

7. Don Williams 43 Stay Young CDF 4.3 8. Eagles 39 Lyin' Eyes BEG 4.6 9. George Strait 2 9 Down And Out BDG 4.6 10. Tom T. Hall 41 Old Dogs, Children, And Watermelon Wine CDF 5.6 11. Ronnie Milsap 8 I'm A Stand By My Woman Man ADG 5.6 12. Hank Williams Sr.24 I Can't Help It If I'm Still In Love With You BDF 5.6 86 Table 22. Beverly Hillbillies "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected ADF: Happy/dedicated love/simple 2 33.3% ADG: Happy/dedicated love/complex 1 16.6% BDF: Hurting/lost love/simple 1 16.6% BEG: Hurting/cheating love/complex 1 16.6% CEF: Philosophical/identification/simple 1 16.6%

Most Enjoy Top 20% 12 Recordings

Types Nu er of times Percent Selected ADF: Happy/dedicated love/simple 2 16.6% ADG: Happy/dedicated love/complex 1 8.6% AEG: Happy/wanting love/complex 2 16.6% BDF: Hurting/lost love/simple 1 8.3% BEF: Hurting/cheating love/simple 2 16.6% BEG: Hurting/cheating love/complex 1 8.3% CEF: Philosophical/identification/simplle 3 25.0% Table 23. Beverly Hillbillies "Least Enjoy" Country Music Recording Formats at the Bottom 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected BDG: Hurting/lost love/complex 1 16.6% BEF: Hurting/cheating love/simple 1 16.6% BEG: Hurting/cheating love/complex 1 16.6% CDF: Philosophical/life/simple 1 16.6% CEF: Philosophical/identification/simple 1 16.6% CEG: Philosophical/identification/complex 1 16.6%

Least Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected ADG Happy/dedicated love/complex 1 8.3% BDF Hurting/lost love/simple 1 8.3% BDG Hurting/lost love/complex 2 16.6% BEF Hurting/cheating love/simple 1 8.3% BEG Hurting/cheating love/complex 2 16.6% CDF Philosophical/life/simple 3 25.0% CEF Philosophical/identification/simple 1 8.3% CEG Philosophical/identification/complex 1 8.3% 87

Beverly Hillbillies appear to enjoy CEF (philosophical,

identification songs with simple production), ADF (happy, dedicated love songs with simple production), AEG (happy, wanting love, romance, or sex songs with complex production), and BEF (hurting, cheating love songs with simple production). Songs themes most enjoyed are contemporary

issues (coded E). Production most enjoyed is simple (coded

F) by 66.6%. However, the combination of AEG was also

selected as most enjoyed by 16.6% of the 12 "most enjoy"

recordings, indicating some preference for passionate artist presentations, complex production, and songs about

contemporary issues.

Beverly Hillbillies appear to least enjoy the

descriptive and heartbroken presentations with the exception

of cheating love, which they selected as most enjoyed. Their

least enjoyed recordings are CDF (philosophical, attitudes

and responses to life with simple production), BEG (hurting

cheating love songs with complex production), and BDG

(hurting, lost love with complex production). They selected

heartbroken (coded B) 50% and descriptive artist presentation

(coded C) 41%. One type of recording (CDF), characterized by a descriptive recording artist presentation, traditional values and simple production, consisted of 25% of the least enjoyed 12 recordings. However, Beverly Hillbillies also 88 enjoyed descriptive artist presentations (coded C) and simple production (coded F). Beverly Hillbillies also differ in the types of songs they prefer. Respondents chose recordings with songs about contemporary issues (coded E) as "most enjoy" and "least enjoy" recordings songs based on traditional values (coded D). It was also noted that Beverly Hillbillies rarely selected a passionate type of artist presentation (coded A) as least enjoyed. It consisted of only 8.3% of the 12 least enjoyed recordings. Beverly Hillbillies appear to use country music recordings to define and elaborate personal constructs about contemporary issues of self-worth, values, and the quality of contemporary living. The following narratives exemplify Kelly's Choice Corollary. Respondent # 23 elaborates on Kenny Rogers' The Gambler: I like it because he is telling a story of different times in life. Life is a gamble. It's a gamble when we get up in the morning. I like it because I've done just about everything I could in my life and tried to do enough good. It is meaningful to me because it is about the passing on of information about what you need to know. Respondent 25 comments about Marty Robbins' Devil Woman: It makes me feel complete. It makes me feel good. It makes me feel love. My life has been kind of harry carry, and this song [recording], helps me feel complete. 89

Respondent # 23 describes Roger Miller's King Of The

Road:

I like the whole thing. It reminds me of those happy, cheerful bums who wouldn't do anything and enjoyed it. It reminds me of my youth, growing up on a farm, near some tracks. Those hobos, would stop off and do a little work for a meal and then sleep in the barn. They were the kings of the road.

Respondent 24 claims Kenny Rogers' She Believes In Me, made her feel "calm and relaxed." Respondent #25 related:

It makes me feel great, like anything is possible. It's calming and makes me stop and think. My husband believed in me when we were first married. I had a bad five year marriage before. I like this recording because it relates to my life. Fine country music is calming.

The author speculates that one respondent may have found

a cheating song too close to home. He describes his feelings

about The Eagles' Lyin' Eyes: "It makes me feel doubt, anger,

and irritation." Respondent # 24 didn't enjoy K.D. Lang's

Three Days, stating "I don't like the tones and weird vocal

sound. It doesn't make me feel anything." Respondent # 25

least enjoyed Hank Williams Jr.'s recordings Whiskey Bent And

Hell Bound and Good Friends, Good Whiskey And Good Lovin'.

About the second recording she explains "There is something

about that song that makes me hate it. It makes me feel hate

"disgust."

In this family of respondents, ages ranging from 16 to

69, it is interesting to note that Beverly Hillbillies all

factored into the same group. Beverly Hillbillies have 90 limited country music listening habits, listening only in the morning and evening. They most enjoy the CEF (philosophical,

identification with simple production) and least enjoy CDF

(philosophical, attitudes and responses to life songs with simple production), BEG (hurting, cheating love songs with complex production), and BDG (hurting, lost love songs with complex production). Recordings (songs) about contemporary

issues appear to be meaningful for predicting Beverly

Hillbillies'' preferences.

Beverly Hillbillies are unique in their selection of CEF

(philosophical, identification with simple production)

recordings as most enjoyed. Marlboro's also selected CEF,

however, at a lower level. Beverly Hillbillies are somewhat

similar to Positive Romantics, Old Gold Dabblers,

Trailblazers, and Star-Struck Boppers by their selection of

ADF (happy, dedicated love songs with simple production), as most enjoyed (at a lower level). Beverly Hillbillies least

enjoy CDF (philosophical, attitudes and responses to life

with simple production), BEG (hurting cheating love songs with complex production), and BDG (hurting, lost love with

complex production). CDF was also least enjoyed by

Trailblazers (lower level) and Star-Struck Boppers. However,

it was most enjoyed by Star-Struck Boppers (with female artist presentations), and Marlboro's. BEG (hurting, cheating love songs with complex production) was least 91 enjoyed by Trailblazers and most enjoyed by Old Gold Dabblers, at a lower level. BDG (hurting, lost love songs with simple production) was least enjoyed by Old Gold Dabblers and Marlboro's and most enjoyed by Trailblazers. Beverly Hillbillies are most similar to Urban Cowboys and Marlboro's. They selected recordings consisting of contemporary issues and simple production as most enjoyed. They appear to least enjoy recordings with traditional values and complex production. Type 5: Trailblazers Trailblazers appear to use the recordings as events to define or elaborate their constructs of identity and romantic relationships. They appear to phrase their experience (from listening to the recordings) as an exploration (an adventure) for a validation of personal identity and a better understanding of "happy," "hurting," and "cheating love." Trailblazers most enjoy the types of recordings other respondents least enjoy. They appear to be trailblazers, seeking to experience both the norm (recordings others enjoyed) and exceptions to the norm (recordings other respondents least enjoyed). Just as a surfer may wait to catch the wave he/she perceives as the best or biggest, hence the most enjoyable, respondents in Trailblazers are very selective concerning their musical preferences. They selected as most enjoyable the extreme traditional country 92 music recordings of Loretta Lynn and Hank Williams Sr. and at

the same time, the recording of (some would say radical) K.D.

Lang. They ranked K.D. Lang's recording of Three Days as

their number 1 most enjoyed recording, while the respondents

in all the other theoretical types ranked her recording as

least enjoyed. They appear to ride a musical wave few others

would select. They appear to be unsatisfied with the current

rock music recordings available and seem to be searching for

a new type of music they can enjoy.

The author surmises that Trailblazers are a bridge

between rock music and country music and may indicate a

potential new audience for country music recordings. An

indication of this potential audience was the success of John

Anderson's hit Swingin' in the early 1980's. It combined a

somewhat naive romantic lyric content with rock music

production. Garth Brooks' recent success appears to indicate

a fulfillment of the convergences of traditional country

music values (lyrics) blended to rock music productions.

According to Brooks (1991),

People are listening to what feels good to listen to, no matter what category that music falls under. . . I've always described myself as mo more than the newsman at 6 o'clock, just put to music. All I'm doing is just reporting real life, and real life is sad and tense... and sometimes funnier than hell (People, p. 48).

Descriptive identity themes are found in the lyrics of

"I'm a honky tonk man" and "I was born to be a coal miner's daughter." 93

Happy (dedicated) love themes are found in the lyrics of

"As sure as I live, this love that I give is going to be yours until the day that I die. Oh, baby, I'm going to love you forever" and "I will always love you."

Happy (sexual) love themes are found in the lyrics of "I was on the porch with Charlotte, feeling love down to my toes, and we were swingin'" and "Say, hey good lookin', what you got cookin', how about cookin' somethin' up with me. . .

So if you want to have fun, come along with me."

Heartbroken (hurting/lost love) themes are found in the lyrics of "Three days filled with tears, yesterday, today, and tomorrow"; "I've got your picture, she's got you"; and

"Break it to me gently, let me down the easy way. Make me feel you still love me, if it's just, just for one more day."

Heartbroken (cheating love) themes are found in the lyrics of "Your cheatin1 heart will tell on you" and "So she tells him she must go out for the evening. But he know where she's going. She is headed for the cheating side of town."

Trailblazers have a self-proclaimed fan level of 2.00 out of a maximum of +3. Fifty percent of the respondents were at the +2 level, and 25% were at the +3 and +1 levels.

Fifty percent listen 5 or more hours per week to country music recordings. Twenty-five percent listen 2 hours a week and 25% listen 2-5 hours per week. Seventy-five percent listen to WHOK radio station and 25% listen to CD 101. 94

Twenty-five percent have The Nashville Network, but watch

less than 30 minutes a week. Gender is equally represented with a 50% split. All respondents are 18-34 years old.

Fifty percent have an annual income of $0-19,999, 25% earn

$20,000-34,999 and 25% earn over $35,000 a year. Seventy-

five percent graduated from college, and the other 25% have

some college education. Respondents listen to country music

only in the early morning and evenings. They listen at home

and in their cars. On weekends they listen from 10 a.m. to 2

p.m. and in the evening from 6 p.m. to 12 midnight. 95 Table 24. Trailblazers xMost Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. K.D. Lang 2 6 Three Days BDG 14.2 2. Dwight Yoakam 60 I'm A Honky Tonk Man CEG 13.7 3. Patsy Cline 23 She's Got You BDF 13.0 4. Randy Travis 4 Forever And Ever, Amen ADF 12.2 5. Loretta Lynn 53 Coal Miner's Daughter CEF 11.7 6. John Anderson 16 Swingin' AEG 11.7

7. Hank Williams Sr.31 Your Cheatin' Heart BEF 11 8. Eagles 39 Lyin' Eyes BEG 11 9. Juice Newton 30 Break It To Me Gently BDG 10 10 Hank Williams Sr 11 Heyr Good Lookin' AEF 10 11 Dolly Parton 1 I Will Always Love You ADF 10 12 Kenny Rogers 36 Ruby, Don't Take Your Love To Town BEG 10.0

Table 25. Trailblazers "Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1 Conway Twitty 13 I'd Love To Lay You Down AEF 2.7 2 Sylvia 40 Nobody BEG 3.5 3 Conway Twitty 28 Somebody's Needin' Somebody BDG 3.7 4 Conway Twitty 22 Hello Darlin' BDF 4.0 5 Tom T. Hall 5 I Love ADF 4.2 6 Barbara Mandrell 10 Crackers ADG 4.5 Earl Thomas Conley 33 Holding Her And Loving You BEF 4.5 8. Brenda Lee 2 5 I'm Sorry BDF 4 .5 9. Alabama 7 She And I ADG 4.5 10. Barbara Mandrell 38 If Loving You Is Wrong I Don't Want To Be Right BEG 4.7 11. Tom T. Hall 41 Old Dogs, Children,, And Watermelon Wine CDF 5.0 12 Anne Murray 17 Shadows In The Moonlight AEG 7.0 96 Table 26. Trailblazers "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected ADF: Happy/dedicated love/simple 1 16.6% AEG: Happy/wanting love/complex 1 16.6% BDF: Hurting/lost love/simple 1 16.6% BDG: Hurting/lost love/complex 1 16.6% CEF: Philosophical/identification/simple 1 16.6% CEG: Philosophical/identification/complex 1 16.6% Most Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected ADF Happy/dedicated love/simple 2 16.6% AEF Happy/wanting love/simple 1 8.3% AEG Happy/wanting love/complex 1 8.3% BDF Hurting/lost love/simple 1 8.3% BDG Hurting/lost love/complex 2 16.6% BEF Hurting/cheating love/simple 1 8.3% BEG Hurting/cheating love/complex 2 16.6% CEF Philosophical/identification/simple 1 8.3% CEG Philosophical/identification/complex 1 8.3%

Table 27. Trailblazers "Least Enjoy" Country Music Recording Formats at the Bottom 10% and 20% Levels of Experienced Enjoyment.

ADF: Happy/dedicated love/simple 1 16.6% ADG: Happy/dedicated love/complex 1 16.6% AEF: Happy/wanting love/simple 1 16.6% BDF: Hurting/lost love/simple 1 16.6% BDG: Hurting/lost love/complex 1 16.6% BEG: Hurting/cheating love/complex 1 16.6%

Least Enjoy Top 20% 12 Recordings

Types er of times Percent Selected ADF Happy/dedicated love/simple 1 8.3% ADG Happy/dedicated love/complex 2 16.6% AEF Happy/wanting love/simple 1 8.3% AEG Happy/wanting love/complex 1 8 .3 "6 BDF Hurting/lost love/simple 2 16.6% BDG Hurting/lost love/complex 1 8.6% BEF Hurting/cheating love/simple 1 8.6% BEG Hurting/cheating love/complex 2 16.6% CDF Philosophical/life/simple 1 8.3% 97

Respondents in Trailblazers appear to enjoy ADF (happy, dedicated love songs with simple production), BDG (hurting,

lost love with complex production), and BEG (hurting cheating

love songs with complex production). Respondents selected heartbroken types of artist presentations (coded B) 50% of the time. They appear to enjoy heartbroken artist presentation more than any other type. Respondents most enjoyed songs of both traditional values and contemporary

issues (coded D and E) and contemporary production (coded G).

Some of the respondents (33.3%) also enjoyed a passionate artist presentation (coded A) when combined with songs about

either traditional values or contemporary issues (coded D and

E) and simple production (coded F).

Trailblazers appear to least enjoy ADG (happy, dedicated

love songs with complex production), BDF (hurting, lost love

songs with complex production), BEG (hurting cheating love

songs with complex production), and CDF (philosophical,

attitudes and responses to life with simple production).

Respondents selected heartbroken artist presentation (coded

B) 50% as both most and least enjoyed. However, the type of production appears to have meaning for Trailblazers

respondents. Two of the least enjoyed recordings have simple production (coded F) compared to the most enjoyed recording which have complex production (coded G). This becomes a complicated situation as some of the Trailblazers selected 98

BEG (hurting cheating love songs with complex production) as

"most enjoy" and some selected BEG coded recordings as "least enjoy." The recordings themselves may provide a clue about the respondents' choices. The Eagles' Lyin' Eyes and Kenny

Rogers' Ruby, Don't Take Your Love To Town (both BEG most enjoyed), were crossover recordings which received extensive air play on both pop and country music radio stations. The

"least enjoy" BEG recordings consisted of Sylvia's Nobody and

Barbara Mandrell's If Loving You Is Wrong, I Don't Want To Be

Right. They were played on country stations but received

less air play on pop radio stations. The BEG recordings most enjoyed are male artists and the BEG recordings least enjoyed are female artists. Trailblazers may accept males singing about cheating themes more than female recording artists.

Trailblazers also selected passionate artist presentations

(coded A) 41.6% as least enjoyed. They rarely selected descriptive artist presentation (coded C) for either "most enjoy" (16.6%) or "least enjoy" (8.3%).

Respondents are the most educated of all defined consumer types. Seventy-five percent have a college education. Respondents are between the ages of 18 to 34 and have moderate country music listening habits, 25% listen 2 hours per week, 25% 2 to 5 hours per week, and 50% more than

5 hours per week. 99

Trailblazers appear to use country music recordings to

define and elaborate their personal concepts of both

conservative and liberal philosophical ideologies.

Trailblazers appear to be the most liberal of the

conservative country music consumers. As respondent # 5

explained, "I have conservative morals and liberal thoughts."

They appear to be the most open minded as they prefer the use

of homosexual, religious, and philosophy of life themes (75%)

in country music recordings. They most enjoy the extremes

ranging from the traditional country music of Loretta Lynn

and Hank Williams Sr. to the liberal contemporary recordings

of K.D. Lang. They also enjoy crossover hits as displayed by

their selection of John Anderson's Swingin', The Eagles'

Lyin' Eyes,. Juice Newton's Break It To Me Gently, and Kenny

Rogers' Ruby, Don't Take Your Love To Town. They enjoy

recordings about cheating. Finally, Trailblazers appear to

enjoy ADF types of recordings which have a message of happy,

satisfied love.

Respondent # 4 expounds on his selection of Patsy

Cline's She's Got You: "She's got a haunting voice. It is

sad, but it makes me feel good. My dad and mom listen to it.

I like the simple production, the raw feeling." Describing

Hank Williams Sr.'s Your Cheatin' Heart, he states: "It makes me feel good, like an old shoe." Respondent # 3 and # 5

expressed their enjoyment of K.D. Lang's Three Days. 100 Respondent # 3 states: "I like her a lot. She has a lot of talent when compared to rock artists, like the New Kids on The Block. I like the feel of the recording. It makes me feel good." Respondent # 5 explains "I enjoy it. It's like listening to the blues." Trailblazers least enjoy country music recordings they describe as "phony" and lyrics that are experienced as degrading or sexist to women. Examples of least enjoyed recordings include: Sylvia's Nobody, Barbara Mandrell's If

Loving You is Wrongr I don't Want To Be Right, and recordings by Conway Twitty and Waylan Jennings. Respondent # 3 explains her selection of Sylvia's Nobody as least enjoyed. "Hate this song. Just hate it. Hate the vocalists, song and production. It makes me feel yucky." About Alabama's ghe And I respondent # 3 decries, "Stupid song. Sounds like they wrote it and recorded it in ten minutes. It makes me feel like I want to turn it off, or change the station." Respondent # 2 least enjoyed Conway Twitty's I'd Love To Lay You Down. She states: "I think the lyrics are rude." About Waylan Jennings Luckenbach Texas respondent # 2 claims: "It's dull. I don't like the tone of it and the lyrics, 'firm Feeling women.' Why can't the song be about women's intellectual minds?" Respondent # 5 least enjoyed Conway Twitty's Hello Darlin' because he feels "It is boring, wimpy, and has a feeling of self-pity. It is very unartistic. 101

Makes me feel self-pity." He also suggests that Tom T.

Hall's I Love is "A contrived, cheap, commercial phony product. Makes me want to throw up. Makes me feel closed minded. I hate it." Respondent # 4 said that Sylvia's

Nobody "makes me feel like listening to fingernails on a

chalkboard."

All respondents of Trailblazers appear to most enjoy the

musical extremes in country music. They selected the

recordings some of the other theoretical types least enjoyed.

Examples include the old traditional (conservative)

recordings of Patsy Cline, Loretta Lynn, and Hank Williams

Sr. They also most enjoy the contemporary (liberal),

recordings of K.D. Lang. They enjoy recordings that are

often found on non-country music radio stations including The

Eagles, Juice Newton, and Kenny Rogers. They are well

educated since 75% have a college degree and the remaining

25% have some college education. Trailblazers most enjoy ADF

(happy, dedicated love songs with simple production), BDG

(hurting, lost love songs with complex production), and BEG

(hurting cheating love songs with complex production). Of

the 12 most enjoyed recordings, they most enjoy complex production techniques.

As mentioned, Trailblazers are most similar to Old Gold

Dabblers. They both have "light" listening habits and enjoy

ADF (happy, dedicated love songs with simple production), Old 102 Gold Dabblers at a lower level, and BEG (hurting cheating love songs with complex production), also with Old Gold Dabblers at a lower level. They both least enjoyed BEF (hurting, cheating love songs with simple production). However, Trailblazers least enjoyed ADG (happy, dedicated love songs with complex production) and CDG (philosophical, attitudes and responses to life songs with complex production) at lower levels, which Old Gold Dabblers most enjoyed. ADG is also most enjoyed by Star-Struck Boppers. Trailblazers are most similar to Old Gold Dabblers and least similar to Positive Romantics, Urban Cowboys, Beverly Hillbillies, Star-Struck Boppers, and Marlboro's.

Histogram of K.D Lang's Three Days appears to measure Trialblazer's

¥2 selection as most enjoyed _ i o B and the other types selection as least enjoyed. The solid black line (# 1) appears to indicate a strong rejection of this recording. However, the raised lines (# 7 and # 13) indicate some I 4 7 10 I S I 6 respondents selected this recording as enjoyed. Type 5 (Trailblazers) are the only respondents to select this recording as "Most Enjoy."

Figure 12. Histogram of Respondents' Selection of K.D. Lang's Three Days. 103

Type 6: Star-Struck Boppers

The term bopper is used in part to help define this theoretical country music listener type. The term is derived from the Dan Seals' 1986 recording of Bop, the 1956 recording of Boppin' The Blues by Carl Perkins and the term boppers which refers to young teenage dancers in the 1950s. In this research, the term boppers is used as a metaphor to describe the idealistic star-struck, romantic, yet somewhat innocent and naive, attitudes of the respondents.

Star-Struck Boppers appear to use the recordings as events to define or elaborate their constructs of self identity and life (living) within a modern society. Romantic issues of "happy," "hurting," and "cheating love" are also explored. Star-Struck Boppers appear to be anxious about themselves and their social roles within society. They appear to phrase their experience (from listening to the recordings) as a need for guidance and validation of personal identity and romantic relationships.

Star-Struck Boppers are female, most of whom are in their late teens to early twenties. Most are single. They are country music fans who appear to reject the rock music favored by their peers. They appear to use country music recordings for cathartic purposes and socialization.

However, it also appears they may be using country music and the corresponding recording artists as mentors for definition 104 and elaboration of their constructs defining female roles within contemporary society. They most enjoy recordings with female artist presentations and songs about traditional values. They appear to reject recordings with male artist presentations from a masculine (fatherly), advocatory perspective. They may be using the traditional values found in the recordings of female artists to help validate or clarify contemporary issues.

The recording artist's gender appears to have meaning for the Star-Struck Boppers respondents. Four of the "most enjoy" recordings selected by Star-Struck Boppers are by female recording artists. Five of the 12 most enjoyed recordings are by female artists. Female artists comprise only 25% of the test instrument. However, Star-Struck

Boppers selected them 66% at the 10% level and 41% at the 20% level. In addition, 91% of the 12 least enjoyed recordings are by male recording artists.

Descriptive identity themes are found in the lyrics of

"One thing's for sure, we're all just passing through. We're not going to live forever, not me and you. All that matters is good friends, good whiskey and good lovin'"; "She's a miracle"; and "Now we're 80's ladies, there ain't been much these ladies ain't tried." 105 Happy (dedicated) love themes are found in the lyrics of "I will always love you" and "This love that I give is going to be yours until the day that I die." Happy love (sexual) themes are found in the lyrics of "All we need is just the two of us"; "You're the one who took my hand. . . You're the one who moves me like no one else can. Take me down"; and "Oh the way she touches me." Hurting (lost) or needing guidance themes are found in the lyrics of "Grandpa take me back to yesterday, when the line between right and wrong didn't seem so hazy" and "What in the world am I going to do about you?" Heartbroken (cheating) love themes are found in the lyrics of "An executive who's got to play the part. . . . When whoever's in New England's through with you" and "It's the hardest thing I'll ever do, leaving here without you. And the second hardest thing I'll ever do is telling her about you." Star-Struck Boppers has the highest self-proclaimed fan level of +3 out of a maximum of +3. Forty percent listen to country music recordings more than 50 hours per week. Another 40% claim to listen more than 5 hours a week and 20% claim to listen 15 hours a week. Eighty percent listen to WHOK radio, and the remaining 20% listen to both WHOK and WMNI. Forty percent listen to the radio more than 50 hours a week, 40% listen more than 30 hours a week and 20% listen 20 106 hours a week. Eighty percent have The Nashville Network on their cable television. Twenty percent watch it 5-6 hours per week, 40% watch it 2 hours per week, and 40% do not watch it at all. All Star-Struck Boppers respondents are women, age 18-34. Eighty percent have an annual income of $0-

19,999, 20% earn $20,000 to $34,999. Sixty percent have some college education and 40% have a college degree. Star-Struck

Boppers' listening habits include most of the day both weekdays and weekends. They listen at home, in the car, and at work. 107 Table 28. Star-Struck Boppers vMost Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Record ing Title Codes Average Number Scores 1. The Judds 44 Grandpa Tell Me ^Bout The Good Old Days CDF 14.0 2. Reba McEntire 27 What Am I Gonna Do About You BDG 13.4 3. Dolly Parton 1 I Will Always Love You ADF 12.4 4. Reba McEntire 37 Whoever' s In New Encrland BEG 12.0 5. Randy Travis 4 Forever And Ever, Amen ADF 12.0 6. Alabama 7 She And I ADG 11.6

7. Alabama 18 Take Me Down AEG 11.0 8. Hank Williams Jr. 42 Good Friendsr Good Whiskey And Good Lovin' CDF 10.8 9. Exile 6 She's A Miracle ADG 10.4 10. K.T. Oslin 59 80's Ladies CEG 10.0 11. Aaron Tippin 48 You've Got To Stand For Somethincr CDG 10.0 12. Earl Thomas Conley 33 Holdina Her And Loving You BEF 10.0

Table 29. Star-Struck Boppers "Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Tom T. Hall 41 Old Doers r Children And Watermelon Wine CDF 2.2 2. Willie Nelson 58 City Of New Orleans CEG 2.6 3. Marty Robbins 34 Devil Woman BEF 2.8 4 . Merle Haggard 14 Let's Chase Each Other Around The Room AEF 3.0 5. K.D. Lang 26 Three Days BDG 3.8 6. Merle Haggard 51 Okie From Muskogee CEF 4.2

7. Ray Stevens 50 Everything Is Beautiful CDG 4.6 8. Ricky Skaggs 3 I Wouldn't Change You If I Could ADF 5.0 9. Hank Williams Sr.31 Your Cheatin' Heart BEF 5.6 10. John Anderson 56 I'm Just An Old Chunk Of Coal CEG 6.0 11. Roger Miller 55 King Of The Road CEF 6.4 12. Don Williams 43 Stay Young CDF 6.4 108 Table 30. Star-Struck Boppers "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected ADF Happy/dedicated love/simple 2 33.3% ADG Happy/dedicated love/complex 1 16.6% BDG Hurting/lost love/complex 1 16.6% BEG Hurting/cheating love/complex 1 16.6% CDF Philosophical/life/simple 1 16.6% Most Enjoy Top 20% 12 Recordings

Types Nu er of times Percent Selected ADF Happy/dedicated love/simple 2 16.6% ADG Happy/dedicated love/complex 2 16.6% AEG Happy/wanting love/complex 1 8.3% BDG Hurting/lost love/complex 1 8.3% BEF Hurting/cheating love/simple 1 8.3% BEG Hurting/cheating love/complex 1 8.3% CDF Philosophical/life/simple 2 16.6% CDG Philosophical/life/complex 1 8.3% CEG Philosophical/identification/complelexx 1 8.3% Table 31. Star-Struck Boppers "Least Enjoy" Country Music Recording Formats at the Bottom 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected AEF: Happy/wanting love/simple 1 16.6% BDG: Hurting/lost love/complex 1 16.6% BEF: Hurting/cheating love/simple 1 16.6% CDF: Philosophical/life/simple 1 16.6% CEF: Philosophical/identification/simple 1 16.6% CEG: Philosophical/identification/complex 1 16.6%

Least Enjoy Top 20% 12 Recordings

Types Number o f times Percent Selected ADF: Happy/dedicated love/simple 1 8.3% AEF: Happy/wanting love/simple 1 8.3% BDG: Hurting/lost love/complex 1 8.3% BEF: Hurting/cheating love/simple 2 16.6% CDF: Philosophical/life/simple 2 16.6% CDG: Philosophical/life/complex 1 8.3% CEF: Philosophical/identification/simpl'simple 2 16.6% CEG: Philosophical/identification/comple'complex 2 16.6% 109

Star-Struck Boppers appear to most enjoy ADF, ADG

(happy, dedicated love songs with simple or complex production), and CDF (philosophical, attitudes and responses to life with simple production). They selected recordings with traditional values (coded D), 66.6% of the top 12 most enjoyed recordings. Respondents appear to enjoy all three types of artist presentations—passionate (coded A), heartbroken (coded B), and descriptive (coded C).

Star-Struck Boppers appear to least enjoy BEF (hurting, cheating love songs with simple production), CDF

(philosophical, attitudes and responses to life with simple production), CEF (philosophical, identification with simple production), and CEG (philosophical, identification with complex production) types of recordings. Recordings with descriptive artist presentation (coded C) were selected 58% of the time, as were songs about contemporary issues (coded

E). Star-Struck Boppers also appear to least enjoy simple production (coded F), which characterizes 66.6% of the 12 least enjoyed selected recordings. Star-Struck Boppers also selected CDF recordings as both most and least enjoyed.

However, the CDF recordings least enjoyed contain parental themes sung by male recording artists. These include Don

Williams' Stay Young and Tom T. Hall's Old Dogs, Children And

Watermelon Wine. 110

Their comments appear to support Kelly's Choice

Corollary. In addition, Star-Struck Boppers appear to enjoy

recordings that are experienced as positive, direct, and

uplifting.

Respondent # 13 claims that Reba McEntire's recordings

of Whoever's In New England and What In The World Am I Gonna

Do About You make her "feel relaxed." Respondent # 14

reveals The Judds' Grandpar Tell Me 'Bout The Good Old Days, makes her also "feel relaxed. It is soothing. It makes me think about how fun it is to listen to a story." She also states about Reba McEntire's What Am I Gonna Do About You:

I can relate to her very well. The lyrics are slow and easy, and meaningful. It is meaningful because of memories in my life. Respondent # 34 states that both Reba McEntire's What Am

I Gonna Do About YOU and The Judds' Grandpa, Tell Me 'Bout

The Good Old Days have a special meaning for her. She claims that the recordings "make me feel happy." Respondent # 4 4

reveals Randy Travis's Forever And Ever, Amenf "Makes me feel very happy. I'd like to find a man like this."

Respondents least enjoyed recordings by male artists that were experienced as negative or "lecturing." Respondent

# 13 explains that Hank Williams Sr.'s Your Cheatin' Heart is

"too slow, sad and twangy country. Respondent # 14 describes

Willie Nelson's voice on the City Of New Orleans as

"whining." She reveals about Marty Robbins' Devil Woman: "I Ill think it is a stupid song. It doesn't make any sense to me.

Reminds me of something I would never do, give up a woman and

take her back." Respondent # 44 states that Ray Stevens'

Everything Is Beautiful makes "her feel like changing the

station."

Star-Struck Boppers are young, single females. Their

ages range from 18-34; however, the majority are in their

late teens to early twenties. Star-Struck Boppers are

"heavy" consumers of country music recordings. All of them

listen to country music radio more than 20 hours a week and

80% listen more than 30 hours per week. They listen most of

the day and evening at various times from 6 a.m. to 12

midnight. They listen at home, in their cars, and often at

work. Eighty percent have The Nashville Network and 60%

watch it more than 2 hours per week. Star-Struck Boppers

most enjoy ADF and ADG (happy, love songs with either simple

or complex production) and CDF (philosophical, attitudes and

responses to life songs with simple production). They appear

to most enjoy female artist presentations instead of male

artists with male "parental" perspectives. Star-Struck

Boppers is the only type to least enjoy CEG (philosophical,

identification with complex production) recordings.

As mentioned, Star-Struck Boppers are most similar to

Positive Romantics. All respondents of both types are women,

yet Star-Struck Boppers are younger than Positive Romantics. 112 Both types of respondents most enjoyed ADF (happy, dedicated love songs with simple production); however, Star-Struck Boppers also most enjoyed ADG (happy, dedicated love songs with complex production) and CDF (philosophical, attitudes and responses to life songs with simple production). Both favor recordings with traditional values. Star-Struck Boppers appear to most enjoy female artists while Positive Romantics appear to most enjoy male artist presentations. Star-Struck Boppers least enjoyed "descriptive" recordings CEF and CEG (philosophical, identification songs with simple and complex production). CEF is most enjoyed by Beverly Hillbillies and (at a lower level) Marlboro's. Star-Struck Boppers are most similar to Positive Romantics and least similar to Old Gold Dabblers, Urban Cowboys, Beverly Hillbillies, Trailblazers, and Marlboro's. Type 7: Marlboro's The term Marlboro's is used as a metaphor for this theoretical type of country music listener. It is derived from the famous Marlboro cigarette commercial and the image it portrayed of the lone, proud, individualist cowboy. Marlboro's appear to use country music recordings for elaboration and definition of their constructs concerning social identities and interpersonal (sexual) fantasies. Marlboro's appear to see themselves as intelligent individuals who subscribe to simple country values. They are 113 proud people, highly individualistic, and may also see themselves as a common man's hero. They appear to be successful in spite of their limited high school educations, aggressive, and may operate with dualistic perspectives.

They appear to work hard and play hard, play being defined as romantic encounters.

Descriptive identity themes are found in the lyrics of

"I'm proud to be an Okie from Muskogee. The place where even squares can have a ball" and "Underneath I'm just a cotton picker. . . I'm just a country boy at heart."

Dualistic philosophical attitudes are found in the lyrics of "Take this job and shove it. I ain't working here no more. You better not try and stand in my way, cause I'm walkin' out the door"; "Grandpa take me back to yesterday when the line between right and wrong didn't seem so hazy" and "Uninvited he sat down and opened up his mind on old dogs and children and watermelon wine."

Happy love (wanting romance or sex) are found in the lyric of "I was on the porch with Charlotte feeling love down to my toes, and we were swingin'"; "I'm a honky tonk man and

I can't seem to stop. Love to give the girls a whirl to the music of the old juke box"; "Let's chase each other 'round the room tonight. Let's play the games we did on our wedding night"; "I'll come right out and tell you, I'd just love to 114 lay you down"; and "I've been turned on, turned down when the bars close at two, but I always get lucky with you." Marlboro's has a self-proclaimed fan level of 2.50 out of a maximum of +3. Type 7 is composed of the two respondents correlated in the McQuitty Elementary Linkage analysis. It has the least variance of the 7 types. One respondent had self-proclaimed fan level of +3, the other +2. One listens to country music 40 hours a week, the other 10 hours a week. Both respondents listen to WHOK. One respondent listens to the radio 60 hours a week, the other 10 hours a week. One has The Nashville Network and watches it 4-5 hours per week. The other respondent does not have it. Gender is split 50%. Both respondents are 35-54 years old. One listed an annual income of more than $35,000, the other respond did not complete the income section of the questionnaire. Both have a high school education and listen to country music from 6 a.m. to 2 p.m. They listen to country music at home or in their cars. On the weekend they listen to country music only in their cars in the afternoon. 115 Table 32. Marlboro's 'Most Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Randy Travis 4 Forever And Ever, Amen ADF 13.5 2. Johnny Paycheck 45 Take This Job And And Shove It CDF 13.0 3. John Anderson 16 Swingin' AEG 12.5 4. Merle Haggard 51 Okie From Muskogee CEF 12.5 5. Dwight Yoakam 60 I'm A Honky Tonk Man CEG 12.5 6. Merle Haggard 14 Let's Chase Each Other Around The Room AEF 12.0 7. Conway Twitty 13 I'd Love To Lay You Down AEF 12.0 8. The Judds 4 4 Grandpa Tell Me 'Bout The Good Old Days CDF 12,. 0 9. Ricky Skaggs 52 Country Boy CEF 12.. 0 Rubyf Don't Take Your 10. Kenny Rogers 36 Love To Town BEG 11,. 5 I Always Get Lucky 11. George Jones 15 With You AEF 11,. 0 Old Dogs, Children,, And 12. Tom T. Hall 41 Watermelon Wine CDF 11,. 0

Table 33. Marlboro's 'Least Enjoy" Recordings at the 10% and 20% Levels.

Artist (s) Recording Title Codes Average Number Scores 1. Hank Williams Sr 31 Your Cheatin' Heart BEF 2 . 0 2. Hank Williams Sr 11 Hey, Good Lookin' AEF 2 . 0 3. Hank Williams Sr 24 I Can't Help It If I'm Still In Love With You BDF 2.5 4. K.D. Lang 2 6 Three Days BDG 3.0 5. Barbara Mandrell 10 Crackers ADG 4.0 6. Alabama 7 She And I ADG 4.5

7. Loretta Lynn 53 Coal Miner's Daughter CEF 4.5 8. Tammy Wynette 21 D-I-V-O-R-C-E BDF 5.0 9. John Conley 57 Common Man CEG 5.0 10. George Strait 47 If You Ain't Lovin'f You Ain't Livin' CDG 5.0 11 Reba McEntire 37 Whoever's In New England BEG 5.0 12 Reba McEntire 27 What Am I Gonna Do About You BDG 5.0 116

Table 34. Marlboro's "Most Enjoy" Country Music Recording Formats at the Top 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected 1. ADF Happy/dedicated love/simple 1 16 6% 2. AEF Happy/wanting love/simple 1 16 6% 3. AEG Happy/wanting love/complex 1 16 6% 4. CDF Philosophical/life/simple 1 16 6% 5. CEF Philosophical/identification/simple 1 16 6% 6. CEG Philosophical/identification/complex 1 16 6%

Most Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected 1. ADF Happy/dedicated love/simple 1 .3% 2. AEF Happy/wanting love/simple 3 25 .0% 3. AEG Happy/wanting love/complex 1 8 •5 2- 4. BEG Hurting/cheating love/complex 1 8 3% 5. CDF Philosophical/life/simple 3 25 .0% 6. CEF Philosophical/identification/simple 2 16 6% 7. CEG Philosophical/identification/complex 1 3%

Table 35. Marlboro's "Least Enjoy" Country Music Recording Formats at the Bottom 10% and 20% Levels of Experienced Enjoyment.

Types Number of times Percent Selected 1. ADG Happy/dedicated love/complex 2 33 3% 2. AEF Happy/wanting love/simple 1 16 6% 3. BDF Hurting/lost love/simple 1 16. 6% 4. BDG Hurting/lost love/complex 1 16, 6% 5. BEF Hurting/cheating love/simple 1 16. 6% Least Enjoy Top 20% 12 Recordings

Types Number of times Percent Selected 1. ADG Happy/dedicated love/complex 2 16 6% 2. AEF Happy/wanting love/simple 1 8 3% 3. BDF Hurting/lost love/simple 2 16 6% 4. BDG Hurting/lost love/complex 2 16, 6% 5. BEF Hurting/cheating love/simple 1 8. 3% 6. BEG Hurting/cheating love/complex 1 8. 3% 7. CDG Philosophical/life/complex 1 3% 8. CEF Philosophical/identification/simple 1 3% 9. CEG Philosophical/identification/complex 1 3% 117

Marlboro's most enjoy AEF (happy, wanting love, romance or sex songs with simple production) and CDF (philosophical, attitudes and responses to life with simple production).

From the 12 most enjoyed recordings, Marlboro's appear to

favor descriptive artist presentation (coded C) 50% and passionate artist presentation (coded A) 41.6%. They also

selected songs about contemporary issues (coded E) over

traditional values (coded D), at a ratio of 66.6% to 33.3%.

Marlboro's most enjoy simple production which consisted of

75% of the 12 "most enjoy" recordings. Marlboro's may be

neo-traditionalist concerning production. They appear to

least enjoy the recordings of traditional artists such as

Hank Williams Sr. and most enjoy the simple production of the

newer recordings of Ricky Skaggs' Country Boy, George Jones'

I Always Get Lucky With Your The Judds' Grandpa Tell Me 'Bout The Good Old Days, and Randy Travis' Forever And Ever, Amen.

Marlboro's appear to least enjoy ADG (happy, dedicated

love songs with complex production), BDF (hurting, lost love

songs with simple production), and BDG (hurting, lost love

songs with complex production). Heartbroken artist

presentations (coded B) consisted of 50% of the 12 least

enjoyed recordings. Both songs with traditional values

(coded D) and complex production (coded G) were least enjoyed

as they consisted of 58.3% of the least enjoyed recordings. 118

They appear to reject recordings with traditional "rural personal images" including John Conley's Common Man, and

Loretta Lynn's Coal Miner's Daughter. They appear to prefer recordings suggesting sexual encounters. Examples include

Conway Twitty's I'd Love To Lay You down, John Anderson's

Swingin'f Dwight Yoakam's I'm A Honky Tonk Man, Merle

Haggard's Let's Chase Each Other Around The Roomf George Jones' I Always Get Lucky With You and Kenny Rogers Ruby,

Don't Take Your Love To Town. Respondent # 10 states that

George Jones' I Always Get Lucky With You, "makes me feel happy. Happy for him because he is going to score. I like

it because he has a positive attitude, he knows he is going to get lucky." Respondent # 10 liked Merle Haggard's Let's

Chase Each Other Around the Room, "because he is full of confidence and knows he is going to get some. It makes me

feel good, knowing he is going to get some." Respondent # 45 states that Kenny Rogers' Ruby, Don't Take Your Love To Town makes her "feel compassion" and John Anderson's Swingin'

"makes me feel happy."

Marlboro's appear to least enjoy recordings with experienced "hurting" messages, including divorce, cheating, or lost relationships. Respondent # 45 claims she feels bored listening to K.D. Lang's Three Days. Respondent # 10 reveals that he least enjoyed Hank Williams Sr.'s I Can't

Help It If I'm Still In Love Wii-.h You and Your Cheatin' Heart 119 because he didn't like the whinny voice, and the recordings made him "feel anxious, anger, and guilt." There are only two respondents for Marlboro's. They have high school educations and appear to make good salaries (one, more than $35,000 per year). They have medium listening habits. One listens 40 hours a week and the other 10 hours per week. Marlboro's most enjoy AEF (happy, wanting love, romance, or sex songs with simple production), and CDF (philosophical, attitudes and responses to life songs with simple production). They least enjoy ADG (happy, dedicated love songs with complex production) and BDF and BDG (hurting, lost love songs with either simple or complex production). Marlboro's appear to be most similar to Urban Cowboys in their preferences of recordings with contemporary issues and simple productions. All respondents in both groups are ages 35-54. Both selected AEF (happy, wanting love, romance, sex message songs with simple production) as most enjoyed. Marlboro's are similar to Beverly Hillbillies with the most enjoy selection of CEF (at a lower level). Urban Cowboys and Marlboro's both least enjoyed ADG (happy, dedicated love songs with complex production). BDF (hurting, lost love songs with simple production) is least enjoyed by Marlboro's and Old Gold Dabblers, as is BDG (hurting, lost love songs with complex production). It is also least enjoyed by Beverly Hillbillies. Marlboro's are most similar to Urban 120

Cowboys and Beverly Hillbillies and least similar to Positive

Romantics, Old Gold Dabblers, Trailblazers, and Star-Struck

Boppers.

Table 36. Demographic Comparison Analysis.

Type 11 Type 2 Type 3 Type 4 Type 5 Type 6 Tvpe 71 1 Fan Level +3=86%|+3=0 +3=50% +3=66% +3=25% +3=100% +3=50%| +2=0 |+2=40% +2=50% +2=33% +2=50% +2=0 +2=50%| +1=0 |+1=60 + 1=0 + 1=0 +1=25% + 1=0 + 1=0 | 0=14%1 0=0 0=0 0=0 0=0 0=0 0=0 1 Averaae 2.57 1 1.40 2.50 2.66 2.00 3.00 2.50 1 Hours per 71%=20|80%=1 50%=40 33%=10 25%=2 40%=+5 50%=40| wk listen to 4 0 |hour +hours hours 25%2-5 40%=50 hours | to country hours |20%=5 25%=10 33%=5 50%=+5 20%=15 50%=10| music per wk1 per wk 25%3-4 33%l-5 per wk per wk per wk1 Have TNN Yes71%l 0% Y 100% Y 100% Yes75% Yes80% Yes50%l Hours per Little| 0% 25%=-l 66% +4 75%=0 Y=80% Yes50%| week 71% | 25%=5h 33%=0 25%=-l 14%=4h| 50%=+2 14%=10l Gender 100% Fl60% F 2 5% F 66% F 50% F 100% F 50% F 1 Acre 18-34 14% *l 40% 0 33% 100% 100% 0 1 35-54 71% 1 60% 100% 33% 0 0 100% 1 55 + 0 1 0 0 33% 0 0 0 1 Income 1 $ 0-19.999 43% 1 40% 25% 100% 50% 80% 0 1 $20-34,999 43% Ino rep 7 5% 0 25% 20% no rep 1 $35 + 14% 1 40% 0 0 25% 0 50% 1 Education 1 Hicrh Sch 43% 1 40% 50% 33% 0 0 100% 1 Hicrh Sch + 28.5% 1 0 25% 33% 25% 60% 0 1 Colleae 28.5 1 60% 25% 33% 75% 40% 0 1 Listening heavy 1 Licrht Heavy Medium Medium Heavy Medium 1 Habits H/C/W ICar H/C/W H/Car H/Car H/C/W H/Car 1 121

Table 37. The Country Music Recording Predictive Instrument for predicting theoretical country music listener preference types. Model is based on recordings most and least enjoyed. Note: uppercase are first or most enjoyed recordings, lowercase are most enjoyed recordings at a lower level. Recording codes are defined as:

ADF: Passionate artist presentation, songs about traditional values (happy/dedicated love songs, and simple production). ADG: Passionate artist presentation, songs about traditional values (happy/dedicated love songs and complex production). AEF: Passionate artist presentation, songs about contemporary issues (happy/wanting love, romance, or sex theme songs, and simple production). AEG: Passionate artist presentation, songs about contemporary issues (happy/wanting love, romance, or sex theme songs, and complex production). BDF: Heartbroken artist presentation, songs about traditional values (hurting/lost love songs and simple production). BDG: Heartbroken artist presentation, songs about traditional values (hurting/lost love songs and complex production). BEF: Heartbroken artist presentation, songs about contemporary issues (hurting/cheating love songs and simple production). BEG: Heartbroken artist presentation, songs about contemporary issues (hurting/cheating love songs and complex production). CDF: Descriptive artist presentation, songs about traditional values (philosophical, attitudes/responses to life songs, and simple production). CDG: Descriptive artist presentation, songs about traditional values (philosophical, attitudes/responses to life songs and complex production). CEF: Descriptive artist presentation, songs about contemporary issues (philosophical, identification songs, and simple production). CEG: Descriptive artist presentation, songs about contemporary issues (philosophical, identification songs, and complex production). 122

"Table 37 (continued)"

Frequency Analysis and Preference Trends The highest frequency of most enjoyed and least enjoyed recordings indicates specific trends in listener preferences. ADF (happy, dedicated love songs with simple production) are most enjoyed and BDF (hurting, lost love songs with simple production) the least enjoyed. Both recording types consist of songs with traditional values and simple production. The difference is in the artist presentation, most preferred recordings coded (A) which is passionate as opposed to (B) heartbroken. However, recordings should be examined "as a package." Therefore, ADF recordings, which are coded passionate, happy/dedicated love songs about traditional values mixed with simple production, are enjoyed the most and BDF recordings, which are heartbroken, hurting lost love songs about traditional values mixed with simple production, are enjoyed the least. As a group, the (A) recordings ADF 123 (happy, dedicated love songs with simple production), ADG (happy, dedicated love songs with complex production), AEF (happy, wanting love, romance, sex theme songs with simple production), and AEG (happy, wanting love romance, sex message songs with complex production) were the most enjoyed. The (B) theoretical types BDF (hurting, lost love songs with simple production), BDG (hurting, lost love songs with complex production), BEF (hurting, cheating love songs with simple production), and the BEG (hurting, cheating love songs with complex production) were as a group, least enjoyed. BDF (hurting, lost love songs with simple production) and CEG (philosophical, identification songs with complex production) were not selected as most enjoyed, and ADF (happy, dedicated love songs with simple production) and CDG (philosophical, attitudes, responses to life songs with complex production) were not selected as least enjoyed. 124

Table 38. Most Enjoyed Frequency per Country Music Listener Types.

ADF-5 BDF-0 CDF-2 ADG-2 BDG-2 CDG-2 AEF-3 BEF-2 CEF-2 AEG-2 BEG-2 CEG-0 Totals=12 Totals=6 Totals=6

Table 39. Least Enjoyed Frequency per Country Music Listener Types.

ADF-0 BDF-4 CDF-3 ADG-3 BDG-3 CDG-0 AEF-1 BEF-3 CEF-2 AEG-1 BEg-2 CEG-1 Totals=5 Totals=12 Totals=6

Correlation of Recordings

Recordings with a correlation of .400 and above were considered meaningful. Data arrays were checked to observe if the meaningful recordings were positive (most enjoy) or negative (least enjoy). A correlation of recordings provides information on which recordings respondents found similar based on their experience enjoyment. Correlation also provides an indication of how the sample of respondents (as a whole) ranked the recordings of each of the individual artists, recordings by the same artist, the gender of the recording artists, and the types of messages found in the songs. 125

Results appear to support the assumption that individual recordings by the same artists often have (for this sample's

respondents) a meaningful correlation. Examples include the

recordings of Kenny Rogers, Hank Williams Sr., Hank Williams

Jr., Tom T. Hall, Alabama, Ricky Skaggs, Reba McEntire and

Barbara Mandrell. Female recording artists were ranked together. As an example, K.T. Oslin correlated with Reba

McEntire. Sylvia and Anne Murray correlated with Barbara

Mandrell. The themes in the songs of the recordings also

correlated. As an example, the recordings of George Jones, X

Always Get Lucky With You correlated with Marty Robbins'

Devil Woman. Another example is Hank Williams Jr.'s Good

Friends, Good Whiskey and Good Lovin' and Dwight Yoakam's I'm

A Honky Tonk Man (originally a Hank Williams Sr. recording) to Hank Williams Jr.'s Whiskey Bent And Hell Bound.

Table 40. Meaningful Correlations of Actual Recordings. Note: A (A) symbol indicates a correlation with the first listed recording.

Record # Artist Title Correlation

# 2 Kenny Rogers Crazy #9 A Kenny Rogers She Believes In Me 541 #17 A Anne Murray Shadows In The Moonlight...520 #49 A Kenny Rogers The Gambler 408 126 "Table 4 0 (continued)

Record # Artist Title Correlation

# 3 Ricky Skaggs I Wouldn't Change You If I Could A #47 George Strait If You Ain't Lovin'f You Ain't Livin' 417 #52 A Ricky Skaggs Country Boy 411

Record # Artist Title Correlation # 5 Tom T. Hall I Love A #41 Tom T. Hall Old Dogsf Children, And Watermelon Wine 518 Record # Artist Title Correlation # 6 Exile # 40 A Sylvia She's a Miracle

Record # Artist Nobody 400

# 7 Alabama Title Correlation #18 A Alabama She And I Record # Artist Take Me Down 556 # 9 Kenny Rogers #10 A Barbara Mandrell Title Correlation #36 A Kenny Rogers She Believes In Me #49 A Kenny Rogers Crackers 487 Ruby, Don't Take Your Record # Artist Love To Town 4 64 The Gambler 526 # 10 Barbara Mandrell Title Correlation #17 A Anne Murray Crackers #38 A Barbara Mandrell Shadows In The Moonlight...457 If Lovin' You Is Wrong # 40 A Sylvia I Don't Want To Be Right...541 Nobody 448 Record # Artist Title Correlation # 11 Hank Williams Sr, Hey, Good Lookin' # 24 A Hank Williams Sr, I Can't Help Tt If T'm Still In Love With You 506 # 31 A Hank Williams Sr, Your Cheatin' Heart 637 127

"Table 40 (continued)"

Record # Artist Title Correlation # 12 Don Williams (Turn Out The Light, And) Love Me Tonight # 43 A Don Williams Stay Young 489

Record # Artist Title Correlation

# 13 Conway Twitty Love To Lay You Down # 22 A Conway Twitty Hello Darlin' 431

Record # Artist Title Correlation

# 14 Merle Haggard Let's Chase Each Other Around The Room Tonight #51 A Merle Haggard Okie From Muskogee 4 81

Record # Artist Title Correlation

# 15 George Jones I Always Get Lucky With You #34 A Marty Robbins Devil Woman 459

Record # Artist Title Correlation

#21 Tammy Wynette D-I-V-O-R-C-E #34 A Marty Robbins Devil Woman 405

Record # Artist Title Correlation

# 22 Conway Twitty Hello Darlin' #28 A Conway Twitty Somebody's Needin' Somebody 589 #34 A Marty Robbins Devil Woman 408 Record # Artist Title Correlation

# 24 Hank Williams Sr, I Can't Help It If I'm Still In Love With You # 31 A Hank Williams Sr. Your Cheatin' Heart 685 128 "Table 40 (continued)

Record # Artist Title Correlation #27 Reba McEntire What Am I Gonna To Do About YOU #37 A Reba McEntire Whoever's In New England 652 # 59 A K.T. Oslin 80's Ladies 4 42

Record # Artist Title Correlation

#29 George Strait Down And Out # 43 A Don Williams Stay Young 409 #47 A George Strait If You Ain't Lovin' You Ain't Livin' 573 #60 A Dwight Yoakam I'm A Honky Tonk Man 4 03

Record # Artist Title Correlation

# 32 Hank Williams Jr, Whiskey Bent And Hell Bound Good Friends, Good Whiskey # 42 A Hank Williams Jr, And Good Lovin' 740 I'm A Honky Tonk Man 428 # 60 Dwight Yoakam Title Correlation Record # Artist # 38 Barbara Mandrell If Loving You Is Wrong, I Don't Want To Be Right # 40 A Sylvia Nobody 431

Factor Analysis of Recordings Selected by Theoretical Types

The correlation of recordings does not appear to illustrate which theoretical types of respondents favor various recording formats. A Q-technique analysis provides a method to predict and describe theoretical types of country music listeners. This research found seven types. A factor analysis of the recordings selected by the respondents of 129 each of the theoretical country music listener types can be compared to each other. A comparative analysis appears to illustrate which country music artists, themes, and recording clusters of theoretical types of country music listeners prefer. Examples include Old Gold Dabblers and Beverly

Hillbillies having a preference for Kenny Roger's recordings.

Another example is the preference for Hank Williams Sr. and

Patsy Cline's recordings by Urban Cowboys and Trailblazers.

Table 41. Factor Analysis of Recordings Selected by Each Theoretical Country Music Listener Type. Note: The % Selected indicates the percent of the seven types that selected this recordings as one of their 12 most enjoyed recordings.

Positive Romantics

Record # Artist Title % Selected

# 1 Dolly Parton I Will Always Love You 71% # 2 Kenny Rogers Crazy 43% # 3 Rick Skaggs I Wouldn't Chanqe You If I Could 28% # 4 Randy Travis # 7 Alabama She And I 43% # 17 Anne Murray Shadows In The Moonlicrht. . . 28% # 18 Alabama Take Me Down 43% x # 44 The Judds Grandpa Tell Me Bout The Good Old Days 43% # 48 Aaron Tippin You've Got To Stand For Somethincr 28% # 52 Ricky Skaggs Country Boy 43% 130 Table 41 (continued)"

Old Gold Dabblers

# 1 Dolly Parton I Will Always Love You 71£ # 2 Kenny Rogers Crazy 43£ # 9 Kenny Rogers She Believes In Me . 28! # 17 Anne Murray Shadows In The Moonlight...28- #36 Kenny Rogers Ruby, Don't Take Your Love To Town 57J # 3S Eagles Lyin' Eyes 28'• # 49 Kenny Rogers The Gambler 28s # 55 Roger Miller King Of The Road 28 • Urban Cowboys

# 3 Ricky Skaggs I Wouldn't Change You If I Could 28% # 7 Alabama She And I 43% # 11 Hank Williams Sr. Hey, Good Lookin' 28% # 15 George Jones I Always Get Lucky With You 28% # 23 Patsy Cline She's Got You 28% # 31 Hank Williams Sr. Your Cheatin' Heart 43% # 42 Hank Williams Jr. Good Friends, Good Whiskey And Good Lovin' 28% # 52 Ricky Skaggs Country Boy 43% # 60 Dwight Yoakam I'm A Honky Tonk Man 43%

Beverly Hillbillies

# Dolly Parton I Will Always Love You 71% # Kenny Rogers Crazy 43% # Kenny Rogers She Believes In Me 28% # 18 Alabama Take Me Down 43% # 31 Hank Williams Sr. Your Cheatin' Heart 43% # 36 Kenny Rogers Ruby, Don't Take Your Love To Town 57% # 49 Kenny Rogers The Gambler 28% # 55 Roger Miller King Of The Road 28% 131 Table 41 (continued)"

Trailblazers # 1 Dolly Parton I Will Always Love You 71% # 4 Randy Travis Forever and Ever, Amen 43% # 11 Hank Williams Sr. Hey, Good Lookin' 28% # 16 John Anderson Swingin' 28% # 23 Patsy Cline She's Got You 28% # 31 Hank Williams Sr. Your Cheatin' Heart 43% #36 Kenny Rogers Ruby, Don't Take Your Love To Town 57% # 39 Eagles Lyin' Eyes 28% # 60 Dwight Yoakam I'm A Honky Tonk Man 43%

Star-Struck Boppers

# 1 Dolly Parton I Will Always Love You 71% # 4 Randy Travis Forever and Ever, Amen 43% # 7 Alabama She And 1 43% #18 Alabama Take Me Down 43% # 42 Hank Williams Jr. Good Friends, Good Whiskey And Good Lovin' 28% #48 Aaron Tippin You've Got To Stand For Something, 28%

Marlboro's

# 15 George Jones I Always Get Lucky With You 28% # 16 John Anderson Swingin' 28% #36 Kenny Rogers Ruby, Don't Take Your Love To Town 57% # 52 Ricky Skaggs Country Boy 43% # 60 Dwight Yoakam I'm A Honky Tonk Man 43%

Typal Commonalties

What (if anything) do all the groups have in common?

All respondents in each type listen to country music on a weekly basis. However, they appear to have different preferences for various country music recordings. They also 132 have diverse listening habits. ADF recordings were selected by 5 of the 7 types as most enjoyed. K.D. Lang's recording of Three Days was selected least enjoyed by all types except

Trailblazers which selected it as most enjoyed. All

respondents in each type appear to use country music as a

form of subjective play. When asked How does it make you

feel? respondents offered positive expressions of enjoyment

for most enjoyed recordings and a majority of neutral or negative expressions for the least enjoyed recordings as

selected in the extreme positions.

McCoy's Emotions as Personal Constructs

Kelly's elaborative choice suggests that individuals

will opt for definition and elaboration of personal construct

systems. Selections respondents chose on the Q-Sorts and the

comments made on the questionnaire represent a positive

affirmation of the respondents' individual construct systems.

McCoy (1977) defines the range of human emotions as personal

constructs. Her glossary of personal constructs is based on

Kelly's definitions of threat, fear, guilt, and anxiety (p.

93-124) . McCoy defines the emotions as:

1. Happiness: An awareness of validation of a portion of one's core structure. 2. Sadness: Awareness of the invalidation of implication of a portion or all of the core structure. 3. Contentment: Awareness that the events with which one is confronted lie within the range of convenience of the construct system. 133 4. Anxiety: Awareness that the events with which one is confronted lie outside the range of convenience of the construct system. 5. Self Confidence: Awareness of the goodness of fit of the self in one's core role structure. 6. Guilt: Awareness of dislodgement of the self from one's core role structure. 7. Love: Awareness of validation of one's core structure. 8. Anger: Awareness of invalidation of constructs leading to hostility. 9. Satisfaction: Awareness of validation of a non-core structure. 10. Doubt: Awareness of imminent incidental change in a non-core structure. 11. Complacency: Awareness of validation of a small portion of some non-core structure. 12. Shame: Awareness of dislodgement of self from another's construing of your role (p. 121).

Respondents were requested to indicate their

communicative feelings when listening to the two recordings they selected as "most enjoy" and the two recordings they

selected as "least enjoy." The results appear to support

Kelly's theory. The results also appear to indicate a preference for happy or positive themes. Country music

respondents appear to most enjoy recordings which provide

opportunities for self definition and elaboration of happiness, contentment, self-confidence, love, satisfaction, and complacency. 134

r'" - • I n «i i • ... | « • s t • % s • 1/ - • g •

r i0«S

Figure 13. Polygram of Emotions Experienced From the Two Most Enjoyed Recordings of all Respondents. 135

According to Wilkerson (1989) :

Polygrams are histograms which reveal the distribution of selected variables (p. 193).

The "positive" emotions defined by McCoy (1977) listed in the left column are: (a) happiness, (b) contentment, (c) self-confidence, (d) love, (e) satisfaction, and (f) complacency. The opposite poles of the constructs are termed

"negative" emotions and are listed on the right side column.

They are: (a) sadness, (b) anxiety, (c) guilt, (d) anger, (e) doubt, and (f) shame. Results indicate respondents appear to have experienced the "positive" emotions of happiness, contentment, self-confidence, love, satisfaction, and complacency more than the "negative" emotions of sadness, anxiety, guilt, anger, doubt, and shame. However, there is an indication that some of the respondents did select the types of country music recordings that made them feel sad as their "most enjoy" recordings. To a lesser degree some respondents also indicated anxiety and guilt. I- 3t 1 •-! '••5 • H - 41

! *-* - ;t Il3

- tt - *• - It - It

...1 MP ! g

Figure 14. Polygram of Emotions Experienced From the Two Least Enjoyed Recordings of all Respondents. 137

The "positive" emotions defined by McCoy (1977) listed

in the left column are: (a) happiness, (b) contentment, (c)

self-confidence, (d) love, (e) satisfaction, and (f)

complacency. The opposite poles of the constructs are termed

"negative" emotions and are listed on the right side column.

They are: (a) sadness, (b) anxiety, (c) guilt, (d) anger, (e) doubt, and (f) shame. Results indicate respondents do not appear to have experienced the "positive" emotions of happiness, contentment, self-confidence, love, satisfaction, and complacency for the recordings selected "least enjoy."

Respondents do appear to be either neutral or to have experienced minor levels of the "negative" emotions including

sadness, anxiety, guilt, anger, doubt, and shame when

listening to the recordings selected "least enjoy."

Respondents offered terms such as happy, good, excited,

contentment, relaxed, and satisfaction in answer to the probe

questions concerning their most enjoyed recordings. Sad, bored, angry, or lack of feeling described the recordings

they least enjoyed. A correlation of the terms offered in

question 1 supports the probe question responses and provides

an indication of the emotions consumers experienced from the

recordings they selected as "most enjoy." 138 Table 42. Correlation of Terms Selected by- Respondents for "Most Enjoy." Note: Respondents were asked to indicate the feelings they experienced while listening to the recordings selected in the "most enjoy" extreme position. A correlation between the selected terms indicates meaningful correlations between positive (happy terms) and non-correlations between positive and negative terms. For respondents, the term "most enjoy" appears to be defined as "happiness" which provided high correlations to "self-confidence," "contentment," and "satisfaction." McCoy's definition of human emotions as personal constructs appears to indicate that respondents find the country music recordings they selected "most enjoy" provide: (a) a awareness of validation of a portions of their core structure (happiness), (b) an awareness of the goodness of fit of the self in one's core role structure (self confidence), (c) an awareness that the events with which one is confronted lie within the range of convenience of the construct system (contentment), and (d) an awareness of validation of a non-core structure (satisfaction) (adapted from McCoy p. 122). However, there are also some minor correlations between "sadness," "anxiety," and "guilt." An indication some respondents selected negative or unhappy terms to define their selection of "most enjoy" recordings. According to McCoy, sadness is an awareness of the invalidation of implication of a portion or all of the core structure. Anxiety is an awareness that the events with which one is confronted lie outside the range of convenience of the construct system and quilt is an awareness of dislodgement of the self from one's core role structure (adapted from McCoy p. 122) . 139 Table 42 (continued)"

HAPPY SAD CONTENT ANXIETY SELF_CON HAPPY 1.000 SAD -0.694 1.000 CONTENT 0.558 -0.392 1.000 ANXIETY -0.242 0.333 -0.443 1.000 SELF CON 0.657 -0.469 0.465 -0.197 1.000 GUILT -0.302 0.332 -0.131 0.182 -0.298 LOVE 0.345 -0.093 0.454 -0.051 0.448 ANGER -0.248 0.021 -0.217 0.219 -0.027 SATISFAC 0.429 -0.297 0.556 -0.261 0.610 DOUBT -0.218 0.130 -0.186 0.356 -0.122 COMPLACE 0.366 -0.068 0.421 -0.028 0.557 SHAME -0.330 0.261 -0.302 0.359 -0.288

GUILT LOVE ANGER SATISFAC DOUBT GUILT 1.000 LOVE -0.057 1.000 ANGER 0.300 -0.252 1.000 SATISFAC -0.169 0.496 -0.069 1.000 DOUBT 0.220 -0.088 0.254 -0.313 1.000 COMPLACE -0.091 0.551 -0.190 0.658 -0.155 SHAME 0.488 -0.232 0.383 -0.368 0.446

COMPLACE SHAME

COMPLACE 1.000 SHAME -0.253 1.000

Correlation of Ideal to Actual Enjoyment

Respondents were requested to listen to all of the recordings and to place their selections within a frequency array based on enjoyment. Once completed, the tape cassette boxes, or labels, were randomized and the respondents were asked to complete a second frequency array based on listening habits. A correlation between the enjoyment distribution

(ideal) and listening habits distribution (actual) appears to provide a method to measure the levels of subjective enjoyment respondents experience when listening to their own 140 selected sources of country music recordings. It compares the ideal (the types of recordings respondents would listen to if they could) to the actual (the types of recordings

respondents actually hear). A Pearson correlation matrix was used to compare the theoretical ideal to the actual listening habits of the respondents of each country music listener type. Data appear to suggest variations tied to demographics. Results varied from .164 to .985. Seventy- eight percent had correlations of .400 or higher. 141

Table 43. Pearson Correlation Between Ideal and Actual Frequency Distributions per Respondent and Listener Type. Note: Respondent # 47 of type 1 is not averaged into type l's score. Respondent is 14 years old and results may not reflect true correlation between ideal and actual. With respondent # 47 type 1 correlation average is .597. Results appear to suggest that types i and 1 have the highest correlation between their ideal (the types of recording they would ideally like to listen to) and the recordings they actually chose to listen to. Both groups are 100% female respondents.

Type 1 Type 2 Type 3 Type 4 Positive Old Gold Urban Cowboys Beverly Romantics Dabblers Hillbillies

#35=.688 # 7=.792 # 8=.493 #23=.350 #38=.985 #16=.574 # 9=.707 #24=.570 #40=.500 #17=.644 #26=.251 #2 5=.32 7 #42=.829 #20=.587 #49=.299 Ave=.415 #43=.320 #37=.421 Ave=.424 #46=.695 Ave=.603 #47=.164* Ave=.669

Type 5 Type 6 Type 7 Trailblazers Star-Struck Boppers Marlboro's # 2=.584 #13=.730 #10=.514 # 3=.711 #14=.779 #45=.478 # 4=.555 #15=.761 Ave=.4 96 # 5=,254 #34=.368 Ave=.52 6 #44=.784 Ave=.684

The seven country music listener types' average

correlations of experienced enjoyment listening habits

settled into three levels within a rank order arrangement.

The levels of experienced enjoyment are (a).350-.499 low, (b)

.500-. 649 medium, and (c) high .650 and above. 142

Table 44. Three Levels of Experienced Enjoyment

Star-Struck Boppers.Ave= .684 Positive Romantics..Ave= .669 High Old Gold Dabblers...Ave= .603 Trailblazers Ave= .526 Medium Marlboro's Ave= .4 96 Urban Cowboys Ave= .42 4 Beverly Hillbillies.Ave= .415 Low

Using the rank order of experienced enjoyment listening habits as a guideline, the seven country music listener types appear to fit into three subgroups. Subgroup one scored the highest combined correlations of ideal to actual enjoyment

listen experiences. It consists of Positive Romantics and

Star-Struck Boppers. They are females who most enjoy

recordings consisting of passionate artist presentations and

songs about traditional values. Subgroup two consists of Old

Gold Dabblers and Trailblazers. They scored a medium level

of experienced enjoyment. They are the most educated of all types and have "light" listening habits. They most enjoy

recordings with traditional values and complex production.

The remaining types, consisting of Marlboro's, Urban Cowboys, and Beverly Hillbillies, had the lowest levels of experienced enjoyment. They most enjoy recordings by male recording artists, with songs about contemporary issues and simple production. 143 Table 45. Subgroup Types per Experienced Enjoyment

High Experienced Enjoyment Type Name Type I Distinguishing Characteristic I Most Least JL Enjoy Enjoy Star- Struck Boppers: Young single females ADF/ADG BEF/CDF CDF CEF/CEG Positive Middle age females ADF BEF/BDF Romantics

Medium Experienced Enjoyment Old Gold Dabblers Light listening habits IADG/ADF BEF/BDF College Education ICDG/BEG BDG/AEF Trail- blazers Light listening habits ADF/BEG ADG/BDF College Education BDG BEG/CDF

Low Experienced Enjoyment Marlboro's Education (high school) AEF/CDF ADG/BDF \£EE BDG Urban Education (most high school)IAEF/BEF ADG/AEG Cowboys Lone. £EF Beverly I Hill billies Education (only 33% college)|CEF/ADF CDF/BEG IAEG/BEF BDG

General Discussion

The empirical data in this study indicates that a

communicative relationship exists between the content and

style of various country music recordings and consumer preferences for enjoyment. Country music recordings appear to provide consumers with an opportunity for engaging in play as proposed by the research of Huizinga and Stephenson.

Recordings selected by the respondents and statements from 144 the probe questions concurrently support Kelly's Choice

Corollary. The method of investigation, Q-technique, appears to have allowed respondents an opportunity to freely express

individual points of view concerning enjoyment preferences while experiencing a broad range of country music recordings.

Respondents divided into seven common types by two different methods of analysis. The seven types are defined as (a) Positive Romantics, consisting of females ages 35-54 who prefer ADF (happy, dedicated love songs with simple production), (b) Star-Struck Boppers, consisting of females

18-34 who prefer ADG (happy, dedicated love songs with

complex production), (c and d) Old Gold Dabblers and

Trailblazers, representing the most educated types, who have

light listening habits and prefer ADG (happy, dedicated love

songs with complex production), ADF (happy dedicated love

songs with simple production), and BEG (hurting, cheating

love songs with complex production), (e, f, and g) Urban

Cowboys, Beverly Hillbillies, and Marlboro's, who are less educated and prefer recordings about contemporary issues and simple production. The intent of this research does not

imply that other types of country music listeners do not exist. However, the dominate characteristics that emerged in this research indicate seven theoretical types of country music listeners participated in this study. The seven types blended into three subgroups consisting of (a) Positive 145

Romantics and Star-Struck Boppers, (b) Old Gold Dabblers and

Trailblazers, and (c) Urban Cowboys, Beverly Hillbillies, and

Marlboro's.

The (A) recordings, ADF (happy, dedicated love songs

with simple production), ADG (happy, dedicated love songs

with complex production), AEF (happy, wanting love, romance,

sex theme songs with simple production), and AEG (happy,

wanting love romance, sex message songs with complex

production), were the most enjoyed.

CDF (philosophical, attitudes and responses to life with

simple production), CDG (philosophical, attitudes and

responses to life with complex production), CEF

(philosophical, identification with simple production) were

next in order of enjoyment. The (B) theoretical types BDG

(hurting, lost love songs with complex production), BEF

(hurting, cheating love songs with simple production), and

the BEG (hurting, cheating love songs with complex production) were least enjoyed.

BDF (hurting, lost love songs with simple production),

and CEG (philosophical, identification songs with complex production) were not selected as most enjoyed and ADF (happy, dedicated love songs with simple production) and CDG

(philosophical, attitudes, responses to life songs with

complex production) were not selected as least enjoyed. 146

The demographic results in this study, appears to add new information to the current cluster plus information

released by The Country Music Association (1988). The CMA

claims that country music listeners are 40.4% of the cluster plus groups 1,2, and 3. They are defined as:

Group 1: Well educated, affluent, suburban professionals. Group 2: Urban, upscale, professionals, few children. Group 3: Younger, mobile, upscale families, children, new homes (Promotion folder 1988, p. 2) .

However, this research appears to indicate that most of the country music consumers in groups 1 and 2 are "light"

listeners. Eighty-percent of Old Gold Dabblers, which appear

to fit into cluster-plus group one, listen only one hour per

week and 50% of Trailblazers, which also appear to fit into

cluster-plus group 1, listen 5 hours a week or less.

The preference noted by young adult female respondents

for female recordings artists was not anticipated. In light

of these findings, the questionnaire should also have

included demographic information concerning marriage status

and other media utilization patterns. The question

concerning purchasing habits did not reveal sufficient meaningful information. Additional research is suggested to establish an understanding of why consumers fail to purchase their favorite recordings. Radio stations may influence consumers' buying habits, as radio air play is a powerful promotional tool. However, radio airplay may also be 147

satisfying the consumers' preference needs for subjective play without spending money. The correlation between ideal

and actual suggests that females may find current country

music recordings more enjoyable than males. Less educated

respondents in Marlboro's, Urban Cowboys, and Beverly

Hillbillies found their listening experience of country music

recordings less enjoyable than did the female respondents in

Positive Romantics and Star-Struck Boppers. Again additional

research is suggested.

The content analysis of number one recordings from 1944-

1988 excluded emerging new trends in country music. The 12-

code system of analyzing the components of the recording package (Stephenson's balanced block design as described

earlier) did not include the possibility of new trends. The

author has noticed a few new recordings that combine song

themes. For example, recordings that blend the themes of

lost or "hurting" love mixed with a philosophy of life message. The author has termed such recordings as compounds

and suggests additional research.

The author surmises the possibility of a potential new

country music audience. Trailblazers (former rock music

fans) appear to be searching for new formats of musical

recordings. They appear to appreciate Garth Brooks' creative

mix of traditional country music values and themes blended to

rock instrumentations and mixes. 148

Country music appears to have an image problem. It is often defined as a sad, hurting, lost love, beer-drinking, kick-the-dog genre of music. However, respondents appear to

least enjoy negative recordings and most enjoy recordings with a positive romantic or love relationships theme. ADF

recordings, which are coded passionate, happy/dedicated love

songs about traditional values mixed with simple production, are enjoyed the most and BDF recordings, which are heartbroken, hurting lost love songs, about traditional values mixed with simple production, are enjoyed the least.

According to the respondents of this study, the types of

recordings consumers often identify with country music (the hurting, lost love songs) are the least enjoyed types of country music recordings. Respondents also appear to prefer

conservative lyric content in country music recordings.

Trailblazers appear to be the most liberal of the seven types with 75% approving of homosexual themes in addition to the common positive love and philosophical life messages.

Results of this research appear to support seven theoretical types of country music listeners based on the content of the recordings and the respondents' experienced enjoyment. Country music does appear to provide consumers with an opportunity to understand themselves and their situations and to anticipate future events. The author has provided seven prototypes of country music listeners. 149

Prototypes

Type 1: Positive Romantics: Jane

Jane is 38, divorced, and a mother of two children. She works as a nurse and makes $26,000 annually. She has a two- year college degree, plus some additional vocational training. Jane loves country music. She listens to it early

in the morning getting ready for work, in the car, at work

(when possible), and at home in the evenings. She watches very little of The Nashville Network, catching bits and pieces as she flips through the channels. She has many

friends who share her values. Jane is optimistic about life and appears to use country music for positive, romantic,

subjective play.

Type 2: Old Gold Dabblers: Rita

Rita is 42 and married with one child. Rita earns over

$35,000 a year, her husband even more. They are both well educated and like to listen to classical, jazz, and pop radio

stations. They define country music by the recordings they hear on educational stations, television, and crossover airplay on pop radio stations. They do not watch The

Nashville Network. However, they do enjoy the types of country music recordings that serious country fans appear to least enjoy. They most enjoy positive romantic and descriptive recordings with songs about traditional values and complex production. 150

Type 3: Urban Cowboys: Joe/JoAnne

Joe/JoAnne are "good old boys/girls." He is 46, she is

42. They have three children and live in suburbia. Joe has a high school education and some additional management training; JoAnne has a high school degree and beautician school training. They take very good care of their home and are proud of what they have. They are friendly and enjoy listening to country music most of the morning, day, and evening. Joe has a radio and television in the garage and

listens to the radio or watches The Nashville Network while tinkering on the cars or working around the house. JoAnne has a radio in the kitchen and listens while cooking. They

like to drink beer and socialize with their neighbors. They enjoy dancing and frequently attend concerts. Country music appears to provide an opportunity for Joe/JoAnne to construe a sense of validity about their life issues and

relationships. They most enjoy recordings about contemporary

issues and with simple production.

Type 4: Beverly Hillbillies: Roy

Roy is 53, married for the second time, has two children, and works in a factory. He has never made a lot of money, and his current annual salary is around $20,000. His wife also works for a low salary. He is a hard worker and proud of his small home. They have The Nashville Network and watch it for about an hour in the evenings. However, they 151

listen to country music on the radio only in the morning getting ready for work, driving to work and on the weekend in

Roy's car. Roy appears to use country music recordings to

construe philosophical issues about life in general. His

family is important to him. He most enjoys descriptive recordings with songs about contemporary issues and with simple production.

Type 5: Trailblazers: Mark

Mark is a 33 year old, educated, married man with two

small children. Mark is a workaholic, an executive on his way up the corporate ladder. He makes over $35,000 annually.

Mark enjoyed rock music growing up but is now searching for more than what rock music has to offer. He listens to

country music only a few hours a week, mostly in his car driving to work. He enjoys life, is concerned about the

environment, and has "conservative morals and liberal thoughts." Mark likes what other country music consumers often least enjoy. He is very selective in what he enjoys.

He picks the extreme old traditional recordings and the newest liberal contemporary recordings as most enjoyed. He

favors passionate theoretical recordings with songs about traditional values and with complex production. However, he also enjoys some of the older, traditional productions. 152

Type 6: Star-Struck Boppers: Pam

Pam is 20 year old, single, and a dedicated country music fan. She and her friends find country music "fun" and reject the drugs and "seriousness" of heavy metal rock music.

She listens to country music most of the morning, afternoon, and evening. Much of her social life is constructed around country music. She likes other people who enjoy country music and she appears to use it as a catalyst for making new

friends and having a good time. Pam has some additional training with her high school degree. She works for a travel

agency and makes around $18,000 annually. Pam most enjoys passionate recordings with songs about traditional values and with complex production.

Type 7: Marlboro's: Jerry

Jerry is 42, married, with two children. He has a high

school education and his annual salary is over $30,000 as a

state employee. Jerry likes to watch car races, and sporting events and often tinkers around the house. He has a pet bird. Jerry has moderate country music listening habits. He

listens in the mornings and sometimes in the afternoon. He most enjoys descriptive recordings with songs about contemporary issues and simple production.

The use of country music as a catalyst of socialization, friendship, or companionship may fit many theories. As

Campbell (1949) suggests, we are a culture that rejects old 153 myths. If consumers construct and define their identities

through country music, it is possible that country music

represents a new myth. Country music recordings appear to provide individuals an opportunity to "subjectively play,"

and in doing so, learn about themselves by relying on the

human experience for guidance instead of the myths of a natural world that may no longer exists. As a form of

subjective play, the communicative experience of country music may encourage socialization. Country music appears to provide an opportunity of personal validity and enjoyment to

consumers. As Campbell observes,

It is not society that is to guide and save the creative hero, but precisely the reverse. And so every one of us shares the supreme ordeal—carries the cross of the redeemer--not in the bright moments of his tribe's great victories, but in the silence of his personal despair (1949, p.391) . APPENDIX A

INTERVIEW GUIDE

Name: Respondent Number Address Phone

Date of Interview

Instructions The purpose of this research is to help recording artists and music producers provide more of the kinds of recordings you and your fellow fans might enjoy. Each of us as an individual has a certain personal kind of music we enjoy. In this test we are asking you to select the music you "most" and "least enjoy." In the box in front of you are 60 cassettes. Each cassette has a 20 to 90 second recording of a country music song on it. The insert labels have additional information on them.

1. Select one of the recordings and look at the label. It has the name of the recording artist, a description of the artist's vocal presentation, the key lyrics of the song, and a description of the instrumentation and production.

2. You may know of the recording already and know if you like it or not. If you are not familiar with the recording, take the cassette out of the box and I will play the tape for you. It is ok to listen to the recording more than once and as loud as you want.

3. We do not want you to be influenced by anyone other than yourself. Please listen to the recordings with a open mind. We want to know what you enjoy. We want to know what you find pleasant, exciting, and playful. We do not want to know, what you think I or someone else might enjoy. Do not be influenced by what you think others enjoy. We want to know what you enjoy.

Are there any questions?.... [] * (Please check here when respondent confirms instructions).

154 155 4. In front of you are three cards titled "most enjoy" (on the right), "neutral" (in the center), and "least enjoy" (on the left). Listen to the tape and read the label. While you are listening to the recording, ask yourself, "how much you enjoy or do not enjoy the recording." If you have a neutral feeling place the cassette box on the center or neutral card. If the recording is "most enjoy" place the cassette box on the right pile and if it is "least enjoy", place the cassette box on the left pile.

Do you understand? [] * (Please check here when respondent confirms instructions).

Play the first recording

*(When the tape is finished make sure the respondent places the cassette box on one of the three piles).

Good! Now, select another tape and we will do the same thing again.

*(Repeat the procedure until all 60 recordings have been judged)

Initial Q Sort Frequency Count

Count the number of tapes in each pile.

Most Enjoyed Neutral Least Enjoyed

Frequency Distribution

Place the frequency distribution cards in front of respondent.

5. Now in front of you are 15 cards numbered 1 through 15. Card number {1} is for the "least" enjoyed recordings and number {15}, is for the "most" enjoyed recordings. The large red number at the bottom of each card is the number of tapes (recordings) you are to place onto each card. If you need to listen to any of the recordings again, just hand them to me and I will be happy to play them for you.

6. Ok, Let me suggest that you start with the "least enjoyed" pile and select the two recordings you least enjoyed.

7. Good. Now place those recordings on card number {1}.

8. Now select the two recordings that you enjoyed the most from the "most enjoyed" pile and place them on card number {15}. 156 9. Good. Now take the rest of the recordings from the original three piles and place them onto the cards in a way that you think best represents your enjoyment of the recordings. Notice that as you get to the center of the 15 numbers (as an example, numbers 7, 8, and 9), more tapes are stacked onto each card.

Are there any questions?...[] *(Please check here when respondent confirms instructions). *(Give the respondent time to make the selections).

Initial Q-sort Data Array When Completed, fill out the data array

Interview Guide Part Two: Second Q-Sort "Most" and "Least" Heard

Respondent Number

1. Now we are going to do the Q-sort again, except this time I want you to sort the tapes according to the music (recordings) you actually hear the most and least often. Ask yourself, "What songs (recordings), do I listen to, in the morning, driving to work, at work, or at home in the evening?"

Is that OK? Yes []

You do not have to listen to any of the tapes again unless you want to. Think about what you "hear" when you listen to the radio?

(Give the respondent time to complete the Q-sort and forced frequency distribution).

Q-Data Array 1. Very Good.

(Fill out the Q-data array). Write the numbers of the tapes into the Q- data array. 157 Questionnaire: "Most Enjoy" Recordings Respondent Number "Most enjoy" recording # 1 1. Please rate the following. When I listen to this recording I feel: (Values) +3 +2 +1 0 +1 +2 +3 Happiness :Sadness. Contentment :Anxiety. Self Confidence : Guilt. Love :Anger. Satisfaction :doubt. Complacency :Shame. 2. Please complete the following, When I listen to this recording I have a feeling of: (Values) +3 +2 +1 +1 +2 +3 Open Mindfulness _:Closed Minded. Interdependence ^Specialization. Creativeness :Moderation. Natural Taking Charge/ Direction :Leadership. How much did you enjoy the: 3. Recording Artist: (Values) +3 +2 +1 + 1 +2 +3 Enjoy very much : : : :Didn't Enjoy. 4. The Song: Enjoy very much : : : :Didn't Enjoy. 5. The Production: Enjoy very much : : : :Didn't Enjoy, "Most enjoy" recording # 2 1. Please rate the following. When listen to this recording I feel: (Values) +3 +2 +1 0 +1 +2 +3 Happiness :Sadness. Contentment :Anxiety. Self Confidence : Guilt. Love :Anger. Satisfaction :doubt. Complacency :Shame. 2. Please complete the following. When I listen to this recording I have a feeling of: (Values) +3 +2 +1 0 +1 +2 +3 Open Mindfulness :Closed Minded. Interdependence :Specialization. Creativeness :Moderation. Natural Taking Charge/ Direction :Leadership. How do you feel about 3. The Recording Artist: (Values) +3 +2 +1 + 1 +2 +3 Enjoy very much : :Didn't Enjoy. 4. The Song: Enjoy very much : _:Didn't Enjoy. 5. The Production: Enjoy very much : .•Didn't Enjoy. 158 Questionnaire: "Least Enjoy Recordings Respondent Number "Least enjoy" recording # 1 1. Please rate the following. When I listen to this recording I feel: (Values) +3 +2 +1 0 + 1 +2 +3 Happiness :Sadness. Contentment : Anxiety. Self Confidence : Guilt. Love :Ange r. Satisfaction :doubt. Complacency :Shame. 2. Please complete the following When I listen to this recording I have a feeling of: (Values) +3 +2 + 1 + 1 +2 +3 Open Mindfulness :Closed Minded. Interdependence : Specialization. Creativeness :Moderation. Natural Taking Charge/ Direction :Leadership. How much did you enjoy the: 3. Recording Artist: (Values) +3 +2 +1 + 1 +2 +3 Enjoy very much : : : :Didn't Enjoy. 4. The Song: Enjoy very much : : : :Didn't Enjoy. 5. The Production: Enjoy very much : : : :Didn't Enjoy. "Least enjoy" recording # 2 1. Please rate the following. When I listen to this recording I feel: (Values) +3 +2 +1 0 +1 +2 +3 Happiness :Sadness. Contentment :Anxiety. Self Confidence :Guilt. Love :Anger. Satisfaction :doubt. Complacency :Shame. 2. Please complete the following When I listen to this recording I have a feeling of: (Values) +3 +2 + 1 0 +1 +2 +3 Open Mindfulness _:Closed Minded. Interdependence :Specialization. Creativeness _: Mode rat ion. Natural Taking Charge/ Direction :Leadership. How do you feel about: 3. The Recording Artist: (Values) +3 +2 + 1 +1 +2 +3 Enjoy very much : _:Didn't Enjoy. 4. The Song: Enjoy very much : _:Didn't Enjoy. 5. The Production: Enjoy very much : :Didn't Enjoy. 159 Probe Questions Respondent Number

Most Enjoy

"Most enjoy" Recording # 1 1. You picked this tape as one of your "most enjoy." What is it particularly about this recording you most enjoy?

2. When you listen to it, how does it make you feel?

3. Does this recording hold any special meaning to you?

"Most enjoy" Recording # 2 1. You picked this tape as one of your "most enjoy." What is it particularly about this recording you most enjoy?

2. When you listen to it, how does it make you feel?

3. Does this recording hold any special meaning to you?

Least Enjoy

"Least enjoy" Recording # 1

1. You picked this tape as one of your "least enjoy." What is it particularly about this recording you least enjoy?

2. When you listen to it, how does it make you feel?

3. Does this recording hold any special meaning to you?

"Least enjoy" Recording # 2 1. You picked this tape as one of your "least enjoy." What is it particularly about this recording you least enjoy?

2. When you listen to it, how does it make you feel?

3. Does this recording hold any special meaning to you? 160

Social Desirability

Respondent Number The role of country music in our society has not been fully explored. There are different kinds of recorded music. Some recordings are good and people should listen to them. Others are not very good and people should not listen to them, especially children. What themes do you think are acceptable for others (including children), to listen to?

Questionnaire

Topic prefer OK Do not prefer

1. Happy "In Love" [ ] [ ] [ ]

2 Lost or "Hurting" Love. [] [] []

3 . Cheating [ ] [ ] [ ]

4 . Sexual Terms [ ] [ ] [ ]

5 . Obscenities [ ] [ ] [ ]

6 . Racist Statements [ ] [ ] [ ]

7. Violent Statements [] [] []

8. Self Identity Issues...[] [] []

9. Religious Themes [] [] []

10 .Homosexuality [] [] []

11 .Drug/Alcohol Use [] [] []

12.Philosophies of life...[] [] [] 161 Questionnaire Respondent Number The purpose of this research is to try to help country music recording artists and music producers provide more of the kind of recordings you and your fellow country music fans might enjoy. Release Form [1] Your participation is voluntary. Are you volunteering to take this test? [] Yes [] No If yes, please read and sign the release form. [2] How much do you enjoy country music? LOVE IT : : : : : : HATE IT. +3 +2 +1 0 +1 +2 +3

[3] How many hours a week do you think you listen to country music?

[4] Which radio station do you listen to?

[5] How many hours per week do you listen to the radio?

[6] Do you watch the Nashville Network on cable TV?

[7] How many hours a week do you watch TNN?

Personal Information Gender Male [] Female [ ]

Ages 18 to 34 [] 35 to 54 [] 55 and over [ ]

Personal Annual Income 0,000 to 19, 999 [] 20,000 to 34,999 [] 35, 000 and over []

Education | High School or less [] Attending College or additional training [] College graduate or more.... [] Purchasing Habits [8] Have you ever bought one of the recordings you picked as "most enjoy?" [] Yes [] No [9] Please answer the following question. I would buy more country music recordings if: 162 Average Week Day Respondent Number Please provide a short description of your country music listening habits during an average week and weekend day. What are you doing when you listen to country music in (a) the morning, (b) mid afternoon, (c) late afternoon, and (d) evening? If you do not listen to country music during any of the time periods leave it blank. If you watch The Nashville Network place a (TNN) in the time periods. Thank you.

The Morning (6 am. to 10 am.)

Mid Afternoon (10 am. to 2 pm.)

Late Afternoon (2 pm. to 6 pm.)

Evening (6 pm. to midnight.)

Average Weekend Day The Morning (6 am. to 10 am.)

Mid Afternoon (10 am. to 2 pm.)

Late Afternoon (2 pm. to 6 pm.)

Evening (6 pm. to midnight.!

Self Description 10. Using a few adjectives, how would you best describe yourself? 1 Checklist Respondent #

Call to reconfirm appointment. Phone #

] Explain purpose of research. ] Sign release form.

] Give copy of release form and summary to respondent. Start Research (Interview Guide One) ] Place tapes and three cards (most enjoy/neutral/least enjoy) on table.

] Read "Instructions" and steps 1-4 of interview guide.

] Play tapes and write comments on a separate paper. When listening is complete ] Count number of tapes in each pile and record responses. Frequency Distribution ] Read Frequency distribution part of interview guide, statements 5 through 9. ] Write in numbers from tapes on "Enjoyment" frequency distribution. most" enjoy tapes least" enjoy tapes

Heard Distribution Place all cassette tapes on end (so titles can be read).

Read Interview Guide part two, statement one. Have respondent complete "most" and "least" heard distribution.

Write in numbers from tapes on "heard" frequency distribution.

Play two most enjoy recordings. Ask respondents to fill out "enjoy questionnaire.

Ask probe questions.

Play two least enjoy recordings. Ask respondents to fill out "least" enjoy questionnaire.

Ask probe questions.

Have respondent fill out Social Desirability questionnaire.

Have respondent fill out Personal questionnaire.

Have respondent fill out average week day questionnaire. APPENDIX B

INSTRUMENT KEY A: Passionate Artist Presentation D: Traditional Values F: Simple Production (Happy/dedicated Love/simple production)

1. Dolly Parton: I Will Always Love You. 2. Kenny Rogers: Crazy. 3. Ricky Skaggs: I Wouldn't Change You If I Could. 4. Randy Travis: Forever And Ever, Amen 5. Tom T. Hall: I love.

A: Passionate Artist Presentation D: Traditional Values G: Complex Production. (Happy/dedicated love/complex production)

6. Exile: She's A Miracle. 7. Alabama: She And I. 8. Ronnie Milsap: I'm A Stand By Your Woman Man. 9. Kenny Rogers: She Believes In Me. 10. Barbara Mandrell: Crackers.

A: Passionate Artist Presentation E: Contemporary Issues F: Simple Production (Happy/wanting love, romance, sex/simple production)

11. Hank Williams Sr: Hey. Good Lookin'. 12. Don Williams: Turn Out The Lights. 13. Conway Twitty: I'd Love To Lay You down. 14. Merle Haggard: Let's Chase Each Other Round The Room. 15. George Jones: I Always Get Lucky With You.

164 A: Passionate Artist Presentation E: Contemporary Issues G: Complex Production (Happy/wanting love, romance, sex/complex production)

16. John Anderson: Swingin'. 17. Anne Murray: Shadows In The Moonlight. 18. Alabama: Take Me Down. 19. Ronnie Milsap: Daydreams About Night Things. 20. Jerry Lee Lewis: Chantilly Lace.

B: Heartbroken Artist Presentation D: Traditional Values F: Simple Production (Hurting/lost love/simple production)

21. Tammy Wynette: D-I-V-O-R-C-E. 22. Conway Twitty: Hello Darlin'. 23. Patsy Cline: She's Got You. 24. Hank Williams Sr: I Can't Help It If I'm Still In Love With You. 25. Brenda Lee: I'm Sorry.

B: Heartbroken Artist Presentation D: Traditional Values G: Complex Production (Hurting/lost love/complex production)

26. K.D. Lang: Three Days. 27. Reba McEntire: What Am I Gonna Do About You. 28. Conway Twitty: Somebody Needs Somebody. 29. George Strait: Down And Out. 30. Juice Newton: Break It To Me Gently.

B: Heartbroken Artist Presentation E: Contemporary Issues F: Simple Production (Hurting/cheating love/simple production)

31. Hank Williams Sr: Your Cheatin' Heart. 32. Hank Williams Jr: Whiskey Bent And Hell Bound. 33. Earl Thomas Conley: Holding Her, Loving You. 34. Marty Robbins: Devil Woman. 35. John Anderson: Your Lying Blue Eyes. 166 B: Heartbroken Artist Presentation E: Contemporary Issues G: Complex Production (Hurting/cheating love/complex production)

36. Kenny Rogers: Ruby, Don't Take Your Love To Town. 37. Reba McEntire: Whoever's In New England. 38. Barbara Mandrell: If Loving You is Wrong, I Don't Want To Be Right. 39. The Eagles: Lyin' Eyes. 40. Sylvia: Nobody.

C: Descriptive D: Traditional Values F: Simple Production (Philosophies/attitudes/responses to life/simple production)

41. Tom T. Hall: Old Dogs, Children And Watermelon Wine. 42. Hank Williams Jr: Good Friends, Good Whiskey and Good Loving. 43. Don Williams: Stay Young. 44. The Judds: Grandpa, Tell Me 'Bout The Good Old Days. 45. Johnny Paycheck: Take This Job and Shove It.

C: Descriptive D: Traditional Values G: complex Production (Philosophies/attitudes/responses to life/complex production)

46. WayIan Jennings: Luckenbach Texas. 47. George Strait: If You Ain't Lovin'r You Ain't Livin'. 48. Aaron Tippin: You've Got To Stand For Something. 49. Kenny Rogers: The Gambler. 50. Ray Stevens: Everything Is Beautiful.

C: Descriptive E: Contemporary Issues F: Simple Production (Philosophies/identification/simple production)

51. Merle Haggard: Okie From Muskogee. 52. Ricky Skaggs: Country Boy. 53. Loretta Lynn: Coal Miner's Daughter. 54. John Denver: Thank God I'm a Country Boy. 55. Roger Miller: King Of The Road. C: Descriptive E: Contemporary Issues G: Complex Production (Philosophies/identification/complex production)

56. John Anderson: I'm Just An Old Chunk Of Coal. 57. John Conley: Common Man. 58. Willie Nelson: City Of New Orleans. 59. K.T. Oslin: 80's Ladies. 60. Dwight Yoakam: I'm A Honky Tonk Man. APPENDIX C

PEARSON CORRELATION AND VARIMAX ROTATION TABLES

168 169

Table 46. PEARSON CORRELATION MATRIX of (n = 50) respondents.

COL(l) COL(2) COL(3) COL(4) COL(5)

COL(l) 1.000 COL(2) 0.142 1.000 COL(3) 0.279 0.397 1.000 COL(4) 0.233 0.541 0.481 1.000 COL(5) 0.216 0.358 0.475 0.521 1.000 COL(6) 0.103 -0.042 0.017 0.205 0.112 COL(7) -0.060 0.073 -0.008 -0.032 0.051 COL(8) 0.371 -0.104 0.111 0.125 0.093 COL(9) 0.164 -0.136 0.023 0.213 0.081 COL(IO) 0.164 -0.045 -0.062 -0.004 -0.008 COL(ll) 0.368 0.261 0.131 0.227 0.305 COL(12) -0.237 -0.004 0.041 0.356 -0.017 COL(13) -0.104 0.154 -0.138 -0.405 -0.177 COL(14) 0.256 0.129 -0.136 -0.222 -0.028 COLU5) 0.183 0.274 0.091 0.079 0.341 COL(16) -0.223 0.089 0.103 -0.134 -0.049 COL(17) -0.229 0.077 0.128 -0.121 -0.010 COL(18) 0.086 -0.084 -0.107 0.180 -0.235 COL(19) -0.427 0.037 -0.087 -0.263 -0.066 COL(20) -0.215 0.072 0.166 -0.166 0.011 COL(21) -0.017 0.138 -0.173 -0.146 -0.246 COL(22) 0.228 0.351 0.257 0.193 0.310 COL(23) -0.260 0.028 -0.184 0.128 -0.285 COL(24) -0.235 0.006 -0.139 -0.283 -0.319 COL(25) -0.385 0.021 -0.150 -0.154 -0.435 COL(26) 0.376 0.044 0.104 0.257 0.157 COL(27) -0.116 -0.129 -0.285 -0.367 -0.181 COL(28) -0.046 0.086 -0.162 0.065 -0.150 COL(29) -0.108 -0.045 -0.147 0.134 -0.063 COL(30) 0.253 -0.056 -0.079 0.098 0.000 COL(31) 0.110 0.015 0.112 0.430 0.170 COL(32) 0.07 9 0.260 0.108 0.054 0.147 COL(33) -0.094 0.198 -0.003 -0.064 0.028 COL(34) 0.072 0.288 0.013 0.146 0.015 COL(35) 0.167 -0.027 -0.110 -0.111 -0.164 COL(36) 0.076 0.148 -0.028 -0.291 -0.045 COL(37) -0.031 0.073 0.086 0.137 0.242 COL(38) -0.015 -0.027 -0.001 -0.178 -0.166 COL(3 9) -0.024 0.142 0.174 -0.047 0.094 COL(40) 0.011 0.083 -0.124 -0.194 -0.409 COL(41) 0.003 0.112 -0.060 -0.004 -0.067 COL(42) 0.209 0.076 -0.003 0.001 -0.049 COL(43) 0.287 0.319 0.146 0.107 -0.080 COL(44) 0.298 0.076 0.025 -0.068 0.021 COL(45) 0.133 0.066 0.072 0.065 0.075 COL(46) 0.171 0.100 0.0 62 -0.029 -0.000 COL(47) 0.403 0.147 -0.021 -0.083 0.011 COL(48) 0.034 0.062 -0.169 0.003 0.156 COL(49) 0.239 0.076 0.122 0.183 0.316 COL(50) -0.001 -0.042 0.142 0.057 0.404 170

"Table 4 6 (continued)"

COL(6) COL(7) COL(8) COL(9) COL(10)

COL(6) 1.000 COL(7) 0.253 1.000 COL(8) 0.244 -0.039 1.000 COL(9) 0.332 -0.137 0.591 1.000 COL(IO) 0.034 0.139 0.219 0.254 1.000 COL(ll) 0.048 -0.088 0.188 0.051 0.233 COL(12) 0.201 0.209 0.080 0.110 -0.204 COL(13) -0.025 -0.022 0.277 -0.319 -0.121 COL(14) 0.115 -0.001 0.176 0.052 0.074 COL(15) 0.014 0.074 0.128 -0.006 -0.100 COL(16) 0.004 0.254 0.126 -0.202 0.161 COL(17) 0.060 0.4 93 0.254 -0.339 -0.042 COL(18) 0.344 0.145 0.202 0.223 0.135 COL(19) -0.02 9 0.184 0.235 -0.155 -0.208 COL(20) -0.007 0.430 0.185 -0.133 0.073 COL(21) 0.143 0.236 •0.051 0.008 0.240 COL(22) -0.108 -0.117 0.305 0.102 -0.070 COL(23) -0.001 0.243 •0.087 -0.068 -0.044 COL(24) 0.235 0.229 •0.076 0.106 0.048 COL(25) 0.195 0.198 •0.073 0.028 0.006 COL(26) 0.022 -0.251 0.506 0.208 0.192 COL<27) 0.171 0.153 •0.056 -0.045 0.154 COL(28) -0.079 0.020 0.004 -0.038 0.079 COL(29) 0.228 0.165 •0.088 -0.024 0.011 COL(30) 0.211 -0.024 0.309 0.274 0.199 COL(31) 0.267 -0.066 0.430 0.493 0.163 COL(32) 0.060 0.053 •0.070 -0.071 -0.021 COL(33) 0.159 0.277 0.097 0.141 -0.080 COL(34) 0.185 0.070 0.216 0.068 -0.059 COL(35) 0.112 0.051 0.160 0.049 -0.060 COL(36) -0.069 0.268 0.051 -0.183 0.020 COL(37) 0.164 0.400 0.053 0.040 0.192 COL(38) 0.070 0.176 0.133 -0.071 0.240 COL(39) -0.029 -0.077 0.055 -0.042 0.147 COL(40) 0.098 0.178 0.226 0.081 0.219 COL(41) 0.153 0.004 0.045 0.049 -0.145 COL(42) 0.157 -0.041 0.232 0.096 0.117 COL(43) 0.087 0.013 0.178 0.148 0.038 COL(44) 0.145 -0.202 0.239 0.177 -0.032 COL(45) 0.052 0.238 0.063 0.063 0.474 COL(46) 0.181 0.062 0.025 0.083 0.223 COL(47) 0.010 -0.027 0.147 -0.103 -0.066 COL(48) 0.228 0.213 0.166 0.242 0.164 COL(49) 0.295 -0.153 0.412 0.187 -0.112 COL(50) 0.111 -0.058 0.08] -0.031 0.087 171 "Table 4 6 (continued)"

COL(ll) C0L(12) COL(13) C0L(14) C0L(15)

COL(ll) 1.000 COLU2) -0.315 1.000 C0L(13) 0.340 -0.448 1.000 C0L(14) 0.459 -0.357 0.576 1.000 C0L(15) 0.319 -0.126 0.205 0.545 1.000 COL(16) 0.112 -0.213 0.289 0.193 0.090 COL(17) -0.090 -0.020 0.164 0.015 0.042 COL(18) 0.058 0.223 -0.018 0.063 -0.157 COL(19) -0.278 -0.086 0.268 0.001 -0.060 COL(20) -0.216 0.024 0.201 -0.053 0.028 COL(21) 0.154 -0.244 0.371 0.302 -0.060 COL(22) 0.362 -0.140 0.013 0.053 0.177 COL(2 3) -0.253 0.374 0.031 -0.180 -0.128 COL(24) -0.174 -0.006 0.346 0.192 -0.034 C0L(25) -0.367 0.337 0.090 -0.103 -0.187 COL(26) 0.243 -0.156 -0.184 0.244 0.121 COL(27) 0.006 -0.324 0.386 0.448 0.067 COL(28) -0.171 0.044 -0.053 -0.211 -0.257 COL(29) -0.046 0.168 -0.126 -0.053 0.073 COL(30) 0.444 -0.093 0.121 0.247 0.027 COL(31) 0.121 0.145 -0.258 -0.076 0.021 COL(32) 0.395 -0.341 0.458 0.277 0.235 COL(33) 0.029 -0.093 0.284 0.403 0.437 COL(34) 0.268 0.039 0.390 0.552 0.346 COL(35) 0.246 -0.260 0.305 0.3 68 0.232 COL(36) 0.094 -0.237 0.307 0.437 0.357 COL(37) -0.122 0.177 -0.181 -0.080 0.150 COL(38) -0.024 -0.133 0.126 0.073 0.014 COL(39) 0.263 -0.070 0.288 0.140 0.049 COL(4 0) 0.142 -0.056 0.326 0.199 0.017 COL(41) -0.021 0.060 0.153 0.063 0.198 COL(42) 0.381 -0.256 0.319 0.278 0.181 COL(43) 0.156 -0.080 0.195 0.223 0.063 COL(44) 0.288 -0.051 0.319 0.535 0.435 COL(45) -0.029 -0.209 -0.146 0.015 0.104 COL(46) 0.281 -0.324 0.353 0.4 63 0.362 COL(47) 0.399 -0.289 0.403 0.458 0.385 COL(48) 0.063 -0.042 -0.049 0.156 0.246 COL (4 9) 0.252 0.033 -0.041 0.303 0.285 COL(50) 0.058 -0.194 0.025 0.080 0.223 172

"Table 46 (continued)"

COL(16) COL(17) COL(18) COL(19) COL(20)

COL(16) 1.000 COL(17) 0.696 1.000 COL(18) 0.004 0.003 1.000 C0L(19) 0.226 0.320 •0.136 1.000 COL(20) 0.407 0.4 65 •0.046 0.299 1.000 C0L(21) 0.281 0.254 0.162 0.178 0.244 COL(22) -0.189 -0.185 •0.105 -0.039 -0.174 COL(23) 0.069 0.149 0.206 0.101 0.046 COL(24) 0.291 0.254 0.004 0.385 0.324 COL(25) 0.092 0.268 0.229 0.289 0.320 COL(26) -0.178 -0.296 0.028 -0.427 -0.452 COL(27) 0.285 0.208 0.051 0.309 0.209 COL(28) -0.165 -0.218 0.187 0.143 -0.153 COL(29) 0.032 0.205 0.214 0.129 0.107 COL(30) -0.011 0.034 0.329 0.038 -0.212 COL(31) -0.089 -0.205 0.317 -0.282 -0.143 COL(32) 0.322 0.209 0.044 -0.034 0.243 COL(33) 0.313 0.253 0.083 0.060 0.188 COL(34) 0.078 0.132 0.126 0.024 0.097 COL(35) 0.319 0.103 0.037 -0.162 0.037 COL(36) 0.347 0.311 •0.158 0.066 0.309 COL(37) 0.179 0.212 •0.022 -0.084 0.459 COL(38) 0.303 0.170 0.091 -0.041 0.135 COL(39) 0.161 0.063 0.299 0.138 0.174 COL(40) 0.138 -0.021 0.260 0.001 0.112 COL(41) -0.017 -0.015 •0.063 -0.049 0.138 COL(42) 0.140 -0.028 0.331 -0.164 -0.062 COL(43) 0.102 0.004 0.156 -0.301 0.184 COL(44) 0.056 -0.139 0.014 -0.017 0.022 COL(4 5) 0.210 0.282 0.027 -0.124 0.164 COL(46) 0.261 -0.004 0.048 -0.115 0.167 COL(47) 0.154 0.013 0.021 -0.118 0.059 COL(48) 0.158 0.098 0.100 -0.153 0.098 COL(49) -0.193 -0.174 0.146 -0.279 -0.352 COL(50) -0.003 0.020 0.222 0.094 0.081 173

"Table 46 (continued)"

COM 21) C0M22) COL(23) COL(24) COM25)

COL(21) 1.000 COL(22) -0.045 1.000 COL(23) 0.157 -0.149 1.000 COL(24) 0.472 -0.232 0.302 1.000 COL(25) 0.423 -0.169 0.511 0.611 1.000 COL(26) -0.169 0.154 -0.103 -0.312 -0.305 COL(27) 0.296 -0.011 0.001 0.390 0.170 COM 28) 0.107 0.070 0.308 0.045 0.157 COL(29) 0.043 -0.027 0.230 0.230 0.185 COM30) 0.337 0.166 -0.032 0.115 0.074 COL(31) 0.046 0.166 0.205 -0.034 -0.015 COL(32) 0.287 0.028 -0.055 0.079 -0.150 COL(33) 0.184 -0.003 0.119 0.434 0.152 COL(34) 0.388 0.044 0.138 0.258 0.129 COL(35) 0.277 -0.066 0.104 0.098 0.039 COL(36) 0.248 -0.016 -0.206 0.111 0.073 COL(37) 0.105 -0.236 0.232 0.256 0.131 COL(38) 0.274 -0.045 0.083 0.230 0.209 COL(39) 0.049 -0.025 -0.067 0.110 0.038 COM 40) 0.263 -0.020 0.298 0.298 0.285 COL(41) 0.192 -0.086 0.042 0.291 0.233 COL(42) 0.258 0.105 0.101 0.081 0.059 COL(43) 0.340 0.003 0.035 0.187 0.181 COL(44) 0.048 0.024 -0.053 0.253 -0.065 COL(45) 0.252 -0.103 -0.003 0.021 -0.016 COL(46) 0.288 -0.171 -0.034 0.298 -0.048 COL(47) 0.128 0.111 0.038 0.069 -0.150 COL(48) 0.017 -0.152 -0.000 0.131 -0.055 COL(49) -0.087 0.166 -0.279 -0.313 -0.246 COL(50) 0.038 -0.215 -0.324 -0.070 -0.219 174

"Table 4 6 (continued)"

COL(26) COL(27) COL(28) COL(29) COL(30)

COL(26) 1.000 COL(27) 0.045 1.000 COL(28) 0.088 0.104 1.000 COL(2 9) -0.139 0.242 0.111 1.000 COL(30) 0.187 0.188 0.080 0.109 1.000 COL(31) 0.274 -0.177 0.072 0.199 0.100 COL(32) -0.055 0.180 -0.044 0.126 0.121 COL(33) -0.159 0.2 92 -0.098 0.220 0.111 COL(34) 0.164 0.122 -0.160 0.060 0.253 COL(35) 0.181 0.098 -0.117 -0.001 -0.013 COL(36) 0.008 0.275 -0.116 0.058 0.001 COL(37) -0.126 0.010 -0.097 0.272 -0.191 COL(38) 0.02 9 0.042 -0.060 0.014 0.014 COL(39) -0.076 -0.028 0.038 0.029 0.159 COL(40) -0.066 0.105 0.119 0.100 0.017 COL(41) -0.066 0.045 -0.008 0.062 -0.107 COL(42) 0.152 0.008 -0.038 -0.036 0.211 COL(43) 0.037 -0.206 -0.136 -0.146 -0.042 COL(44) 0.125 0.185 -0.124 -0.017 0.253 COL(45) 0.174 0.235 0.081 0.189 0.019 COL(46) 0.124 0.298 -0.140 -0.006 0.149 COL(47) 0.183 0.140 -0.114 -0.053 0.177 COL(48) 0.055 0.087 -0.042 0.278 -0.017 COL(49) 0.435 -0.112 -0.217 -0.140 0.226 COL(50) -0.080 -0.034 -0.251 -0.024 0.062 175

"Tdble 46 (continued)"

COL(31) COL(32) COL(33) COL(34) COL(35)

C0L(31) 1.000 COL(32) 0.294 1.000 COL(33) 0.143 0.379 1.000 COL(34) 0.235 0.334 0.407 1.000 COL(35) 0.295 0.397 0.213 0.279 1.000 COL(36) -0.199 0.309 0.426 0.189 0.452 COL(37) 0.156 0.142 0.136 -0.013 0.131 COL(38) 0.333 0.247 0.237 0.199 0.385 COL(39) 0.282 0.329 0.058 0.222 -0.008 COL(40) 0.237 0.222 0.258 0.305 0.392 COL(41) 0.177 0.269 0.2 92 0.243 0.271 COL(42) 0.545 0.514 0.164 0.285 0.614 COL(43) 0.258 0.351 0.2 67 0.442 0.448 COL(44) -0.051 0.204 0.358 0.456 0.129 COL(45) 0.164 0.201 0.068 0.056 0.180 COL(46) 0.225 0.4 97 0.499 0.476 0.347 COL(47) 0.174 0.428 0.253 0.441 0.642 COL(48) 0.396 0.452 0.449 0.226 0.315 COL(49) 0.233 0.003 0.127 0.236 0.102 COL(50) 0.028 0.143 0.051 0.048 -0.154

"Table 46 (continued)"

COL(36) COL(37) COL(38) COL(39) COL(40)

COL(36) 1.000 COL(37) 0.218 1.000 COL(38) 0.320 0.147 1.000 COL(39) -0.010 0.094 0.206 1.000 COL(40) 0.173 0.013 0.371 0.388 1.000 COL(41) 0.135 0.149 0.208 0.125 0.102 COL(42) 0.106 0.067 0.518 0.397 0.476 COL(43) 0.293 0.191 0.223 0.204 0.397 COL(44) 0.203 0.010 0.015 0.174 0.267 COL(45) 0.291 0.387 0.139 -0.046 0.085 COL(4 6) 0.226 0.195 0.407 0.263 0.317 COL(47) 0.320 0.066 0.330 0.190 0.267 COL(48) 0.273 0.344 0.2 67 0.187 0.195 COL(49) 0.185 -0.187 0.049 0.059 -0.044 COL(50) 0.116 0.079 0.103 0.079 -0.310 176

"Table 4 6 (continued)"

COL(41) COL(42) COL(4 3) COL(44) COL(45)

COL(41) 1.000 COM42) 0.229 1.000 COM43) 0.436 0.378 1.000 COL(44) 0.229 0.184 0.240 1.000 COL(45) -0.019 0.089 0.068 -0.030 1.000 COL(46) 0.389 0.490 0.333 0.490 0.305 COL(47) 0.310 0.580 0.382 0.504 0.078 COL(48) 0.049 0.277 0.219 0.145 0.275 COL(49) -0.093 0.137 0.126 0.217 -0.037 COL(50) -0.129 -0.025 -0.176 -0.045 0.067

'Table 46 (continued)"

COL(46) COL(47) COL(48) COL(49) COL(50)

COL(46) 1.000 COL(47) 0.514 1.000 COL(48) 0.303 0.299 1.000 COL(49) -0.001 0.147 0.116 1.000 COL(50) 0.188 -0.079 0.072 0.283 1.000

NUMBER OF OBSERVATIONS: 60 Table 4 7 SYSTAT ROTATED FACTORED INITIAL COMMUNALITY ESTIMATES

1 2 3 4 5

0.853 0.951 0.852 0.974 0.900

6 7 8 9 10

0.855 0.923 0.883 0.896 0.828

11 12 13 14 15

0.916 0.933 0.941 0.939 0.824

16 17 18 19 20

0.906 0.909 0.920 0.876 0.906

21 22 23 24 25

0.917 0.863 0.912 0.908 0.944

26 27 28 29 30

0.929 0.836 0.619 0.777 0.916

31 32 33 34 35

0.968 0.856 0.962 0.914 0.926

36 37 38 39 40

0.912 0.881 0.858 0.954 0.926

41 42 43 44 45

0.907 0.921 0.904 0.901 0.890

46 47 48 49 50 178

0.920 0.922 0.882 0.848 0.804

Table 4 8 ITERATIVE PRINCIPAL AXIS FACTOR ANALYSIS

TERATION MAXIMUM CHANGE IN COMMUNALITIES 1 0.3810 2 0.6351 3 0.0962 4 0.0221 5 0.0082 6 0.0034 7 0.0015 8 0.0006

Table 4 9 FINAL COMMUNALITY ESTIMATES

0.381 0.509 0.408 0.810 0.752

0.328 0.366 179 Table 50 LATENT ROOTS (EIGENVALUES)

7.268 5.270 3.445 2.917 2.035

1.957 1.670 1.241 1.096 1.072

11 12 13 14 15

0.809 0.752 0.596 0.563 0.480

16 17 18 19 20

0.394 0.349 0.285 0.211 0.171

21 22 23 24 25

0.132 0.094 0.057 0.054 0.018

26 27 28 29 30

-0.038 -0.102 -0.105 -0.138 -0.164

31 32 33 34 35

-0.168 -0.216 -0.247 -0.269 -0.313

36 37 38 39 40

-0.322 -0.350 -0.354 -0.362 -0.375

41 42 43 44 45

-0.404 -0.417 -0.432 -0.449 -0.474

46 47 48 49 50

-0.483 -0.496 -0.526 -0.563 -0.607 180

Table 51. FACTOR PATTERN

COL(l) 0.208 0.569 -0.040 -0.020 -0.092 COL(2) 0.227 0.160 -0.058 0.388 0.455 COL(3) -0.006 0.298 -0.031 0.485 0.214 COL(4) -0.099 0.506 0.388 0.482 0.300 COL(5) -0.025 0.4 94 -0.159 0.664 0.034 COL(6) 0.228 0.064 0.358 0.065 -0.077 COL(7) 0.178 -0.378 0.189 0.351 -0.137 COL(8) 0.199 0.500 0.334 -0.182 -0.152 COL(9) 0.083 0.348 0.447 -0.118 -0.180 COL(IO) 0.167 0.0 62 0.201 -0.004 -0.544 COL(ll) 0.427 0.4 95 -0.239 -0.037 0.041 COL(12) -0.336 -0.074 0.549 0.161 0.326 COL(13) 0.560 -0.281 -0.489 -0.276 0.286 COL (14) 0. 664 0.146 -0.373 -0.226 -0.030 COLU5) 0.442 0.246 -0.281 0.255 0.095 COL(16) 0.398 -0.391 -0.146 0.254 -0.145 COL(17) 0.219 -0.519 -0.091 0,404 -0.073 COL(18) 0.159 0.034 0.487 -0.209 -0.007 COL(19) -0.037 -0.533 -0.193 0.011 0.131 COL(20) 0.235 -0.529 -0.019 0.411 0.001 COL(21) 0.479 -0.322 0.089 -0.115 -0.047 COL(22) 0.007 0.384 -0.098 -0.012 0.200 COL(23) 0.037 -0.359 0.474 -0.079 0.236 COL(24) 0.387 -0.577 0.185 -0.096 0.084 COL(25) 0.111 -0.601 0.442 -0.144 0.215 COL(26) 0.091 0.602 0.057 -0.160 -0.211 COL(27) 0.336 -0.343 -0.191 -0.179 -0.308 COL(28) -0.138 -0.100 0.232 -0.207 0.023 COL(29) 0.096 -0.209 0.272 0.145 -0.088 COL(30) 0.263 0.210 0.086 -0.259 -0.109 COL(31) 0.293 0.386 0.636 0.067 -0.039 COL(32) 0. 639 0.027 -0.104 0.207 0.051 COL(33) 0.585 -0.161 0.030 0.161 0.083 COL(34) 0. 625 0.087 0.064 -0.020 0.297 COL(35) 0. 625 0.037 0.048 -0.119 -0.055 COL(36) 0.504 -0.163 -0.280 0.164 -0.165 COL(37) 0.210 -0.205 0.288 0.527 -0.183 COL(38) 0.463 -0.126 0.183 -0.008 -0.150 COL(39) 0.336 0.023 0.067 0.013 0.131 COL(40) 0.503 -0.154 0.291 -0.295 0.090 COL(41) 0.351 -0.094 0.125 0.013 0.268 COL(42) 0.655 0.201 0.211 -0.181 0.034 COL(43) 0.533 0.102 0.207 0.026 0.267 COL(44) 0.499 0.186 -0.139 -0.157 0.174 COL(45) 0.257 -0.051 0.116 0.302 -0.488 COL(46) 0.722 0.042 -0.032 0.039 -0.088 COL(47) 0.682 0.199 -0.152 -0.101 0.120 COL(48) 0.447 0.050 0.231 0.228 -0.253 COL(49) 0.159 0.559 -0.032 -0.012 -0.013 COL(50) 0.037 0.115 -0.248 0.305 -0.206 181

"Table 51. (continued)'

C0L(1) -0.053 0.037 COL(2) 0.000 0.269 COL(3) -0.056 0.186 COL(4) 0.100 0.247 COL(5) 0.172 0.102 COL(6) 0.362 -0.058 COL(7) 0.115 0.038 COL(8) 0.199 -0.096 COL(9) 0.278 -0.110 COL(IO) -0.036 0.311 COL(ll) 0.037 0.375 COL(12) 0.208 -0.238 COL(13) 0.006 0.196 COL(14) 0.330 -0.092 COL(15) 0.215 -0.276 COL(16) -0.076 0.171 COL(17) 0.056 0.161 COL(18) 0.121 0.225 COL(19) 0.277 0.181 COL(20) -0.041 0.005 COL(21) 0.079 0.307 COL(22) 0.064 0.242 COL(23) -0.038 0.041 COL(24) 0.270 -0.035 COL(25) 0.152 0.028 COL(26) 0.004 -0.023 COL(27) 0.346 0.092 COL(28) -0.026 0.251 COL(29) 0.212 0.022 COL(30) 0.431 0.387 COL(31) -0.143 0.043 COL(32) -0.194 0.161 COL(33) 0.282 -0.237 COL(34) 0.241 -0.040 COL(35) -0.363 -0.196 COL(36) -0.022 -0.205 COL(37) -0.077 -0.165 COL(38) -0.283 -0.017 COL(39) -0.090 0.2 62 COL(40) -0.180 0.072 COL(41) -0.111 -0.257 COL(42) -0.352 0.153 COL(43) -0.279 -0.114 COL(44) 0.287 -0.229 COL(45) -0.095 0.105 COL(46) -0.032 -0.070 COL(47) -0.218 -0.134 COL(48) -0.018 -0.222 COL(49) 0.240 -0.159 COL(50) 0.154 -0.015 182

Table 52. VARIANCE EXPLAINED BY FACTORS

7.268 5.270 3.445 2.917 2.035

1.957 1.670

Table 53. PERCENT OF TOTAL VARIANCE EXPLAINED

14.537 10.540 6.891 5.833 4.069

3.915 3.341 183 Table 54. ROTATED FACTOR PATTERN

COL(l) 0.213 -0.141 0.381 -0.350 0.187 COM2) 0.168 -0.001 -0.163 0.035 0.652 COL(3) 0.001 0.072 -0.006 -0.163 0.606 COL(4) -0.087 0.040 0.374 0.095 0.796 COL(5) -0.213 0.193 0.144 -0.418 0.669 COL(6) -0.033 0.252 0.372 0.238 0.048 COL(7) -0.007 0.555 -0.122 0.200 0.030 COL(8) 0.103 -0.068 0.678 -0.011 0.011 COL(9) -0.041 0.050 0.657 0.128 -0.022 COL(10) 0.143 0.344 0.274 -0.154 -0.111 COL(ll) 0.325 -0.180 0.146 -0.351 0.348 COL(12) -0.323 0.036 0.221 0.566 0.183 COL(13) 0.412 -0.192 -0.527 0.008 -0.085 COL(14) 0.268 -0.061 0.048 -0.217 -0.138 COL(15) 0.119 0.104 0.054 -0.270 0.188 COL(16) 0.255 0.456 -0.366 -0.040 -0.013 COL(17) 0.022 0.542 -0.443 0.091 0.066 COL(18) 0.153 0.030 0.339 0.381 0.018 COL(19) -0.237 0.107 -0.486 0.254 -0.073 COL(20) 0.099 0.528 -0.424 0.153 0.042 COL(21) 0.328 0.232 -0.143 0.242 -0.083 COL(22) 0.013 -0.282 0.109 -0.130 0.349 COL(23) 0.128 0.091 -0.035 0.612 -0.023 COL<24) 0.124 0.300 -0.200 0.521 -0.236 COL(25) 0.050 0.185 -0.151 0.751 -0.172 COL(2 6) 0.113 -0.185 0.535 -0.320 0.035 COL(27) -0.012 0.253 -0.141 0.004 -0.367 COL(28) -0.010 -0.097 0.035 0.257 -0.040 COL(29) -0.070 0.338 0.076 0.259 -0.001 COL(30) 0.001 -0.063 0.304 0.062 0.058 COL(31) 0.401 0.147 0.612 0.180 0.246 COL(32) 0.563 0.230 -0.128 -0.135 0.228 COL(33) 0.214 0.331 -0.001 0.163 0.002 COL(34) 0.351 0.017 0.103 0.203 0.184 COL(35) 0.699 0.094 0.077 -0.071 -0.169 COL(36) 0.284 0.329 -0.188 -0.230 -0.149 COL(37) 0.116 0.647 0.036 0.079 0.103 COL(38) 0.521 0.271 0.037 0.052 -0.131 COL(39) 0.341 0.029 -0.036 0.084 0.201 COL(40) 0.572 0.017 0.061 0.335 -0.147 COL(41) 0.346 0.031 -0.032 0.225 0.012 COL(42) 0.786 -0.012 0.206 0.02 6 0.064 COL(43) 0.616 0.018 0.092 0.151 0.162 COL(44) 0.207 -0.126 0.145 -0.009 -0.017 COL(45) 0.173 0.561 0.114 -0.209 -0.032 COL(46) 0.531 0.250 0.076 -0.097 -0.024 COL(47) 0.652 -0.070 0.035 -0.169 0.017 COL(48) 0.299 0.450 0.275 -0.044 -0.036 COL(49) -0.014 -0.151 0.451 -0.245 0.159 COL(50) -0.164 0.225 -0.013 -0.347 0.112 184

"Table 54 (continued)"

C0L(1) 0.082 0.082 COM2) 0.163 0.046 COL(3) -0.017 -0.091 COL(4) -0.106 -0.084 COL(5) 0.146 -0.066 COL(6) 0.223 0.130 COL(7) 0.037 0.039 COL(8) 0.135 0.108 COL(9) 0.075 0.075 COL(10) -0.290 0.363 COL(ll) 0.181 0.441 COL(12) -0.029 -0.378 COL(13) 0.415 0.405 COL(14) 0.689 0.390 COL(15) 0.62 6 -0.056 COL(16) 0.085 0.195 COL(17) 0.068 0.124 COL(18) -0.117 0.273 COL(19) 0.114 0.251 COL(20) 0.096 -0.057 COL(21) 0.091 0.449 COL(22) 0.029 0.171 COL(23) -0.126 -0.052 COL(24) 0.304 0.209 COL(25) 0.013 0.077 COL(26) 0.012 0.085 COL(27) 0.275 0.477 COL(28) -0.288 0.169 COL(29) 0.043 0.083 COL(30) 0.137 0.643 COL(31) -0.127 -0.047 COL(32) 0.216 0.160 COL(33) 0.594 0.048 COL(34) 0.554 0.186 COL(35) 0.196 -0.077 COL(36) 0.396 0.011 COL(37) 0.020 -0.250 COL(38) -0.005 0.018 COL(39) 0.023 0.213 COL(40) 0.050 0.163 COL(41) 0.281 -0.215 COL(42) 0.032 0.171 COL(43) 0.203 -0.147 COL(44) 0.631 0.122 COL(45) -0.126 0.115 COL(46) 0.393 0.156 COL(47) 0.398 0.024 COL(48) 0.206 -0.087 COL(49) 0,331 0.027 COL(50) 0.151 0.045 185

Table 55. VARIANCE EXPLAINED BY ROTATED FACTORS

4.896 3.398 3.991 3.445 2.867

3.585 2.380

Table 56. PERCENT OF TOTAL VARIANCE EXPLAINED

9.793 6.797 7.982 6.891 5.734

7.170 4.760 APPENDIX D

PEARSON CORRELATION OF RECORDINGS Table. 57 PEARSON CORRELATION OF RECORDINGS.

RECORD1 RECORD2 RECORD3 RECORD4 RECORD5

RECORD1 1.000 RECORD2 0.095 1.000 RECORD3 -0.109 -0.245 1.000 RECORD4 0.132 -0.016 -0.000 1.000 RECORD5 -0.222 0.161 -0.124 0.178 1.000 RECORD6 0.082 0.044 -0.185 -0.199 -0.212 RECORD7 0.113 0.044 0.115 0.246 -0.026 RECORD8 0.244 0.134 0.204 0.095 -0.381 RECORD9 0.038 0.541 -0.299 -0.166 0.118 RECORD10 0.164 0.380 -0.391 -0.230 0.159 RECORD11 0.005 -0.284 0.163 -0.122 -0.010 RECORD12 -0.024 -0.099 0.190 0.103 0.204 RECORD13 -0.117 -0.074 -0.048 0.150 0.062 RECORD14 -0.329 -0.199 0.252 -0.176 0.219 RECORD15 -0.241 -0.163 0.208 -0.253 0.098 RECORD16 0.084 -0.210 -0.084 0.144 -0.113 RECORD17 0.117 0.520 -0.047 -0.133 -0.070 RECORD18 0.100 0.249 -0.127 0.118 0.089 RECORD19 0.108 0.246 -0.005 -0.136 -0.002 RECORD2 0 -0.114 -0.056 -0.191 -0.131 -0.160 RECORD21 -0.052 0.000 0.033 -0.290 0.089 RECORD22 -0.141 0.051 -0.101 -0.182 0.198 RECORD23 -0.080 -0.229 0.047 -0.129 -0.168 RECORD2 4 0.021 -0.384 0.207 0.003 -0.028 RECORD25 0.220 0.230 -0.242 -0.272 0.114 RECORD2 6 -0.021 -0.476 0.046 -0.223 -0.362 RECORD2 7 0.149 0.180 0.015 0.235 -0.065 RECORD28 0.129 0.134 0.081 0.086 0.083 RECORD2 9 -0.058 -0.043 0.248 0.162 -0.271 RECORD30 0.021 0.193 -0.231 0.082 -0.130 RECORD31 -0.118 -0.294 0.237 -0.149 0.094 RECORD32 -0.146 -0.118 0.020 0.057 -0.130 RECORD33 -0.010 0.066 0.024 0.063 0.083 RECORD34 -0.214 -0.160 -0.007 -0.482 0.121 RECORD35 0.037 0.041 -0.163 0.068 0.054 RECORD3 6 -0.005 0.240 -0.114 -0.031 0.200 RECORD37 0.083 -0.045 0.030 0.082 -0.109 RECORD38 0.081 0.299 -0.334 -0.149 -0.034 RECORD3 9 -0.164 0.052 -0.358 -0.151 -0.291 RECORD'S 0 -0.001 0.187 -0.395 -0.198 0.036 RECORD41 -0.390 -0.132 0.065 0.099 0.518 RECORD'S 2 -0.287 -0.105 0.136 0.143 -0.082 RECORD'S 3 -0.103 -0.015 0.229 0.225 -0.047 RECORD4 4 -0.019 -0.112 -0.156 0.267 -0.069 RECORD4 5 -0.239 0.007 -0.212 -0.059 -0.054 RECORD4 6 -0.229 -0.203 0.118 -0.315 -0.131 RECORD4 7 0.093 -0.117 0.417 -0.090 -0.067 RECORD4 8 0.355 -0.120 0.093 0.334 -0.123 RECORD4 9 0.092 0.408 -0.203 -0.200 0.130 RECORD50 -0.026 0.119 -0.181 -0.051 0.185 RECORD51 -0.260 -0.258 0.064 0.058 0.136 RECORD52 -0.004 -0.153 0.411 0.072 -0.119 RECORD53 0.133 -0.203 0.034 0.082 -0.018 RECORD54 0.294 0.183 -0.215 0.018 -0.047 RECORD55 0.114 0.007 -0.264 -0.215 0.045 RECORD5 6 0.156 -0.183 0.193 0.040 -0.113 188 "Table 57 (continued)"

RECORD57 -0.099 0.079 0.341 0.129 0.013 RECORD5 8 -0.247 0.006 0.027 -0.171 -0.198 RECORD5 9 -0.001 -0.067 -0.192 0.203 -0.075 RECORD60 -0.138 -0.393 0.067 0.337 -0.083

RECORD6 RECORD7 RECORD8 RECORD9 RECORD10

RECORD6 1.000 REC0RD7 0.220 1.000 RECORD8 0.078 0.056 1.000 REC0RD9 0.045 -0.085 -0.111 1.000 RECORD10 0.155 -0.217 -0.192 0.487 1.000 RECORD11 -0.202 -0.055 -0.117 -0.188 -0.353 RECORD12 0.218 0.234 -0.099 0.030 -0.258 RECORD13 -0.015 -0.094 -0.131 0.076 0.263 RECORD14 -0.236 -0.166 0.097 -0.135 -0.167 RECORD15 -0.314 -0.275 -0.217 0.023 -0.280 RECORD16 0.069 -0.019 -0.032 -0.186 -0.238 RECORD17 0.114 -0.205 0.180 0.347 0.497 RECORD18 0.059 0.556 -0.141 0.276 0.228 RECORD19 0.356 -0.178 0.339 0.167 0.141 RECORD2 0 0.217 -0.177 -0.063 0.017 0.254 RECORD21 -0.072 -0.047 -0.307 0.02 9 0.086 RECORD22 0.032 -0.149 -0.260 0.182 0.003 RECORD23 -0.124 -0.191 -0.023 -0.313 -0.347 RECORD2 4 -0.184 -0.096 -0.110 -0.219 -0.225 RECORD2 5 -0.084 -0.231 0.072 0.240 0.290 RECORD2 6 -0.066 -0.149 0.025 -0.275 -0.062 RECORD2 7 0.009 0.331 0.102 -0.169 -0.051 RECORD28 -0.035 0.064 0.062 0.107 -0.152 RECORD2 9 -0.092 0.173 0.115 -0.413 -0.510 RECORD30 0.200 -0.002 0.160 0.031 0.082 RECORD31 -0.218 -0.224 -0.230 -0.307 -0.168 RECORD32 -0.021 0.201 -0.062 -0.321 -0.189 RECORD33 0.146 0.313 -0.129 -0.054 -0.038 RECORD34 -0.105 -0.365 -0.336 0.163 -0.018 RECORD35 -0.119 0.007 0.060 0.102 0.013 RECORD36 -0.052 -0.209 0.047 0.464 0.339 RECORD37 0.302 0.231 -0.101 -0.184 0.104 RECORD38 0.277 0.052 -0.066 0.284 0.541 RECORD3 9 0.211 -0.096 0.030 0.167 0.332 RECORD4 0 0.400 0.140 -0.383 0.371 0.448 RECORD41 -0.248 -0.016 -0.035 -0.063 -0.236 RECORD'S 2 -0.127 0.144 0.070 -0.335 -0.263 RECORD4 3 0.143 0.272 0.220 -0.200 -0.284 RECORD4 4 0.105 0.297 0.073 -0.202 -0.176 RECORD45 -0.113 -0.279 -0.161 0.278 0.017 RECORD4 6 -0.104 -0.216 -0.015 -0.293 -0.091 RECORD4 7 -0.126 0.147 -0.055 -0.315 -0.251 RECORD4 8 0.080 0.241 0.105 -0.135 -0.386 RECORD4 9 0.052 0.020 -0.05O 0.526 0.371 RECORD50 -0.099 -0.197 0.000 0.371 0.204 RECORD51 -0.183 -0.246 0.095 -0.115 -0.179 RECORD52 0.065 0.061 0.146 -0.345 -0.295 RECORD53 -0.186 -0.228 -0.185 0.038 0.052 RECORD54 0.141 -0.043 0.179 0.210 0.245 RECORD55 -0.150 -0.275 -0.007 0.059 0.270 RECORD5 6 -0.153 -0.257 0.223 -0.319 -0.346 RECORD57 -0.020 0.174 -0.168 -0.075 -0.189 189 'Table 57 (continued)'

RECORD58 -0.301 -0.440 0.262 0.043 0.096 RECORD59 0.020 0.215 -0.082 -0.146 0.057 RECORD60 -0.187 0.085 0.058 -0.577 -0.541

RECORD11 RECORD12 RECORD13 RECORD14 RECORD15

RECORD11 1.000 RECORD12 -0.004 1.000 RECORD13 -0.335 0.068 1.000 RECORD14 0.032 0.034 -0.054 1.000 RECORD15 0.083 0.161 -0.074 0.383 1.000 RECORD16 -0.091 -0.069 -0.199 -0.027 0.074 RECORD17 -0.311 -0.189 0.128 0.059 -0.120 RECORD18 -0.254 0.085 0.125 -0.024 -0.077 RECORD19 -0.343 0.130 0.229 0.221 -0.063 RECORD20 -0.074 -0.091 0.289 -0.128 -0.445 RECORD21 0.263 -0.031 0.042 -0.052 0.235 RECORD22 -0.186 0.279 0.431 0.049 0.375 RECORD23 0.368 0.005 -0.307 0.138 0.305 RECORD2 4 0.506 0.080 -0.264 -0.011 0.216 RECORD2 5 0.170 -0.114 0.088 -0.100 -0.060 RECORD2 6 0.152 -0.112 -0.327 0.236 0.059 RECORD2 7 -0.153 -0.003 -0.006 -0.291 -0.048 RECORD28 -0.195 0.357 0.278 0.027 0.290 RECORD2 9 0.205 0.081 -0.182 -0.079 0.025 RECORD30 -0.224 -0.168 -0.403 -0.257 -0.152 RECORD31 0.637 -0.071 -0.204 0.177 0.159 RECORD32 0.187 -0.3 98 -0.211 -0.116 -0.081 RECORD33 -0.239 0. 173 0.163 -0.300 0.000 RECORD34 0.225 0. 108 -0.054 0.337 0.459 RECORD35 0.130 -0.018 -0.200 0.210 0.064 RECORD3 6 -0.114 -0.143 -0.019 -0.144 0.080 RECORD37 -0.033 0.020 0.030 -0.139 0.005 RECORD38 -0.372 -0.364 0.092 -0.364 -0.320 RECORD3 9 -0.307 -0.310 -0.022 -0.072 -0.149 RECORD4 0 -0.223 0.016 0.161 -0.383 -0.278 RECORD41 0.064 0.033 -0.037 0.394 0.152 RECORD42 0.205 -0.298 -0.123 -0.045 -0.127 RECORD4 3 -0.164 0.489 0.078 -0.015 -0.119 RECORD4 4 -0.120 0.038 -0.199 -0.172 -0.149 RECORD4 5 -0.072 -0.087 0.327 -0.134 0.004 RECORD4 6 -0.008 -0.348 0.054 0.134 0.056 RECORD4 7 0.289 0.262 -0.208 0.036 0.081 RECORD4 8 -0.003 0.182 -0.029 -0.291 -0.075 RECORD4 9 -0.151 0.097 0.317 0.040 -0.080 RECORD50 -0.152 -0.056 0.039 0.144 -0.055 RECORD51 0.147 -0.130 0.142 0.481 0.209 RECORD52 -0.024 0.002 0.018 -0.166 0.019 RECORDS3 0.281 0.199 -0.043 -0.064 0.094 RECORD54 0.034 -0.131 -0.112 -0.244 -0.428 RECORD55 -0.065 -0.351 -0.045 0.150 -0.210 RECORD5 6 0.211 -0.132 -0.359 0.264 0.147 RECORD57 -0.137 0.244 0.152 0.037 0.152 RECORD58 0.006 -0.269 0.121 0.123 -0.080 RECORD5 9 -0.218 -0.122 -0.183 -0.159 -0.115 RECORD60 0.319 -0.136 -0.163 0.076 -0.039 "Table 57 (continued)"

RECORD16 RECORD17 RECORD18 RECORD19 RECORD20

REC0RD16 1.000 REC0RD17 -0.132 1.000 RECORD18 -0.159 0.180 1.000 RECORD19 -0.037 0.188 -0.112 1.000 RECORD20 -0.110 0.298 -0.114 0.120 1.000 RECORD21 -0.042 -0.055 -0.023 -0.155 -0.056 RECORD22 -0.186 -0.141 -0.073 0.279 -0.048 RECORD2 3 0.107 -0.255 -0.420 -0.181 -0.084 RECORD2 4 -0.050 -0.427 -0.322 -0.178 0.022 RECORD2 5 -0.336 0.195 -0.247 0.028 0.025 RECORD2 6 0.277 -0.173 -0.197 -0.173 -0.046 RECORD2 7 -0.032 -0.010 0.309 -0.118 -0.280 RECORD28 -0.164 0.068 0.102 0.301 -0.227 RECORD2 9 0.035 -0.201 -0.063 -0.236 -0.124 RECORD30 0.040 -0.001 -0.081 -0.041 -0.047 RECORD31 -0.050 -0.363 -0.343 -0.059 0.060 RECORD32 0.181 -0.193 -0.028 -0.436 -0.148 RECORD33 -0.123 -0.279 0.056 -0.084 -0.447 RECORD34 -0.086 -0.098 -0.189 0.190 0.103 RECORD35 -0.008 -0.184 0.002 0.010 -0.053 RECORD3 6 0.026 0.130 0.020 0.029 -0.213 RECORD37 -0.133 0.050 0.221 -0.051 -0.146 RECORD38 -0.066 0.225 0.248 0.052 0.131 RECORD3 9 -0.010 0.232 0.057 0.049 0.236 RECORD4 0 0.009 0.110 0.302 -0.082 0.179 RECORD41 -0.096 -0.270 -0.070 0.122 -0.181 RECORD4 2 0.129 -0.105 -0.100 -0.379 0.046 RECORD43 0.112 0.096 0.151 0.063 0.156 RECORD4 4 0.267 -0.045 0.195 -0.339 -0.063 RECORD4 5 -0.042 -0.128 -0.291 -0.123 0.237 RECORD4 6 0.058 -0.146 -0.210 0.070 0.029 RECORD4 7 -0.135 -0.231 -0.114 -0.073 -0.276 RECORD4 8 0.290 -0.160 0.122 -0.027 -0.053 RECORD4 9 -0.266 0.281 0.266 0.262 0.190 RECORD50 -0.125 0.222 0.081 0.237 0.165 RECORD51 0.102 0.043 -0.059 0.030 0.030 RECORD52 0.185 0.002 -0.083 -0.129 -0.061 RECORD53 0.014 -0.110 -0.127 -0.144 0.176 RECORD54 -0.318 0.153 0.062 -0.029 0.297 RECORD55 -0.150 0.153 -0.050 0.089 0.268 RECORD5G 0.336 -0.255 -0.419 -0.040 -0.312 RECORD57 -0.026 0.025 0.071 -0.021 -0.206 RECORD58 -0.193 0.107 -0.437 0.006 0.225 RECORD59 0.334 -0.119 0.202 -0.256 -0.219 RECORD60 0.215 -0.291 -0.285 -0.237 0.041

RECORD21 RECORD22 RECORD2 3 RECORD2 4 RECORD25

RECORD21 1.000 RECORD22 0.249 1.000 RECORD23 0.251 0.018 1.000 RECORD24 0.200 -0.026 0.352 1.000 RECORD2 5 0.151 0.140 0.190 -0.029 1.000 RECORD2 6 -0.016 -0.328 0.361 0.237 -0.095 RECORD27 -0.088 0.024 -0.026 -0.082 -0.200 RECORD2 8 0.071 0.589 -0.186 -0.170 0.093 RECORD2 9 -0.142 -0.077 0.072 0.051 -0.273 191 'Table 57 (continued)'

RECORD30 0.024 -0.306 0.051 -0.069 -0.075 REC0RD31 0.269 0.028 0.305 0.685 -0.049 RECORD32 -0.069 -0.275 0.194 0.066 -0.104 RECORD33 0.156 0.252 -0.055 -0.217 -0.064 RECORD34 0.405 0.408 0.367 0.288 0.188 RECORD35 0.005 -0.008 0.070 0.239 -0.204 RECORD3 6 0.105 0.048 -0.291 -0.196 0.039 RECORD37 0.046 -0.024 0.055 0.036 -0.245 RECORD38 0.088 -0.152 -0.136 -0.279 0.153 RECORD3 9 -0.171 -0.071 -0.106 -0.201 -0.107 RECORD4 0 0.074 -0.090 -0.410 -0.265 0.020 RECORD41 -0.177 0. 161 0.088 0.035 0.030 RECORD42 -0.199 -0.377 0.213 0.197 -0.100 RECORD43 -0.354 -0.146 -0.235 -0.157 -0.397 RECORD44 -0.260 -0.237 -0.023 -0.289 -0.195 RECORD4 5 0.091 0.344 -0.082 -0.034 0.162 RECORD4 6 -0.025 0.036 -0.009 -0.057 -0.072 RECORD4 7 -0.024 -0.055 0.099 0.186 -0.090 RECORD4 8 -0.210 -0.102 -0.003 -0.066 -0.229 RECORD4 9 0.121 0.381 -0.281 -0.302 0.181 RECORD50 -0.069 -0.030 -0.245 -0.237 0.221 RECORD51 -0.206 -0.227 -0.089 -0.073 -0.085 RECORD52 -0.124 -0.271 -0.048 -0.096 -0.035 RECORD53 0.126 -0.092 0.211 0.330 -0.010 RECORD54 -0.050 -0.258 -0.227 -0.029 0.293 RECORD55 -0.016 0.090 -0.105 0.032 0.250 RECORD5 6 -0.190 -0.166 0.276 0.164 -0.077 RECORD57 0.050 0.110 0.053 -0.187 -0.205 RECORD58 -0.161 -0.063 -0.005 -0.112 0.221 RECORD59 -0.245 -0.321 -0.101 -0.098 -0.299 RECORD60 -0.169 -0.281 0.126 0.195 -0.165

RECORD26 RECORD2 7 RECORD2 8 RECORD2 9 RECORD30

RECORD2 6 1.000 RECORD27 -0.010 1.000 RECORD2 8 -0.329 0. 148 1.000 RECORD2 9 -0.133 0.051 0.120 1.000 RECORD30 0.239 -0.050 -0.234 0.005 1.000 RECORD31 0.157 -0.188 -0.182 0.046 -0.173 RECORD32 0.083 0.036 -0.308 0.357 0.151 RECORD33 -0.182 0.350 0.127 0.114 0.129 RECORD34 0.084 -0.439 0.134 -0.164 -0.096 RECORD35 0.028 -0.015 -0.138 0.018 0.031 RECORD3 6 -0.165 -0.055 -0.101 -0.287 0.141 RECORD37 0.106 0.652 -0.032 0.027 -0.021 RECORD38 -0.042 0.085 -0.139 -0.301 0.307 RECORD3 9 0.200 -0.049 -0.137 -0.055 0.288 RECORD4 0 -0.134 0.039 -0.179 -0.194 0.108 RECORD41 -0.097 -0.237 0.036 -0.050 -0.113 RECORD4 2 0.104 0.228 -0.389 0.204 -0.093 RECORD4 3 -0.119 0.072 -0.011 0.409 -0.036 RECORD44 0.094 0.328 -0.135 0.160 0.142 RECORD45 -0.168 -0.263 0.100 -0.021 -0.040 RECORD4 6 0.107 -0.136 -0.136 0.304 -0.015 RECORD47 0.008 0.084 0.139 0.573 -0.196 RECORD48 -0.101 0.251 0.161 0.099 -0.078 RECORD4 9 -0.361 -0.089 0.129 -0.325 -0.276 RECORD50 -0.083 -0.312 -0.015 -0.375 0.090 "Table 57 (continued)"

REC0RD51 -0.096 -0.372 -0.213 0.030 -0.237 RECORD52 -0.121 -0.109 -0.009 0.258 -0.020 RECORD53 0.109 -0.218 0.002 -0.172 -0.063 RECORD54 -0.184 -0.315 -0.140 -0.192 0.198 REC0RD55 0.098 -0.230 -0.247 -0.278 0.046 RECORD56 0.380 0.016 -0.208 0.097 0.074 RECORD57 -0.005 0.280 0.270 0.100 -0.087 RECORD58 0.150 -0.295 -0.071 -0.012 0.085 RECORD5 9 0.279 0.442 -0.245 -0.085 0.064 RECORD60 0.171 -0.140 0.032 0.403 0.043

RECORD31 RECORD32 RECORD33 RECORD34 RECORD35

RECORD31 1.000 RECORD32 0.148 1.000 RECORD33 -0.234 0.124 1.000 RECORD34 0.351 -0.277 -0.205 1.000 REC0RD35 0.194 0.009 -0.184 0.006 1.000 RECORD36 -0.172 -0.255 0.218 -0.023 0.101 RECORD37 -0.027 0.031 0.313 -0.192 0.067 RECORD38 -0.327 0.127 0.154 -0.140 -0.141 RECORD3 9 -0.146 0.154 0.027 -0.086 -0.079 RECORD4 0 -0.328 -0.043 0.215 -0.119 -0.212 RECORD41 0.152 -0.004 -0.028 0.286 0.020 RECORD42 0.127 0.740 -0.052 -0.369 -0.046 RECORD43 -0.299 -0.152 -0.021 -0.273 0.022 RECORD4 4 -0.373 0.192 0.019 -0.479 0.017 RECORD4 5 -0.017 0.056 0.049 0.153 -0.077 RECORD4 6 0.230 0.307 0.113 0.058 -0.206 RECORD4 7 0.174 0.111 0.209 0.097 0.014 RECORD48 -0.224 -0.029 0.027 -0.278 0.005 RECORD4 9 -0.121 -0.533 -0.051 0.134 0.081 RECORD50 -0.176 -0.482 -0.245 0.146 -0.056 RECORD51 0.011 -0.055 -0.388 0.100 -0.037 RECORD52 -0.115 0.340 -0.095 -0.332 -0.219 RECORD53 0.201 -0.401 -0.303 0.236 0.121 RECORD5 4 -0.127 -0.117 -0.234 -0.113 -0.020 RECORD55 0.137 -0.217 -0.164 0.251 0.006 RECORD5 6 0.223 0.179 -0.106 -0.161 0.332 RECORD5 7 -0.072 -0.046 0.328 -0.076 -0.320 RECORD58 0.054 -0.160 -0.234 0.094 -0.073 RECORD5 9 -0.290 0.212 0.197 -0.407 -0.073 RECORD60 0.229 0.428 -0.173 -0.177 -0.137

RECORD3 6 RECORD37 RECORD38 RECORD3 9 RECORD4 0

RECORD3 6 1.000 RECORD37 -0.033 1.000 RECORD38 0.073 0.103 1.000 RECORD3 9 0.140 0.123 0.238 1.000 RECORD4 0 0.151 0.142 0.431 0.209 1.000 RECORD41 0.024 -0.244 -0.004 -0.240 -0.360 RECORD42 -0.307 0.060 0.034 0.008 -0.128 RECORD43 -0.116 0.036 -0.195 -0.100 0.020 RECORD4 4 -0.148 0.093 0.035 0.001 0.016 RECORD4 5 0.156 -0.318 -0.106 0.084 0.140 RECORD46 -0.078 -0.188 0.031 0.239 0.009 RECORD4 7 -0.159 0.164 -0.387 -0.233 -0.063 RECORD4 8 -0.231 0.011 -0.042 -0.311 -0.078 "Table 57 (continued)"

RECORD49 0.388 -0.083 -0.050 -0.040 0.196 RECORD50 0.259 -0.351 0.177 0.090 0.080 RECORD51 -0.044 -0.210 -0.273 -0.123 -0.115 RECORD52 -0.211 -0.161 0.045 -0.193 -0.060 RECORD53 -0.029 -0.179 -0.143 -0.232 -0.135 RECORD54 0.119 -0.316 0.181 0.003 0.116 RECORD55 0.199 -0.304 -0.032 0.173 •0.014 RECORD56 -0.106 -0.077 -0.355 -0.261 -0.441 RECORD57 -0.279 0.111 -0.113 -0.247 0.014 RECORD58 0.068 -0.284 -0.055 0.216 -0.057 RECORD5 9 0.003 0.277 0.240 0.187 0.288 RECORD60 -0.380 -0.181 -0.309 -0.016 -0.258

RECORD41 RECORD4 2 RECORD4 3 RECORD4 4 RECORD4 5

RECORD41 1.000 RECORD42 0.066 1.000 RECORD43 -0.004 -0.016 1.000 RECORD44 -0.001 0.219 0.225 1.000 RECORD45 -0.114 0.065 -0.254 -0.198 1.000 RECORD4 6 0.173 0.238 -0.068 -0.136 0.093 RECORD47 -0.028 0.034 0.185 -0.168 -0.190 RECORD4 8 -0.138 0.021 0.360 0.249 -0.206 RECORD49 -0.052 -0.501 -0.047 -0.256 0.236 RECORD50 0.171 -0.430 -0.015 -0.192 -0.032 RECORD51 0.285 0.067 0.088 0.029 0.028 RECORD52 -0.076 0.281 0.234 0.203 -0.106 RECORD53 -0.143 -0.248 -0.144 -0.016 -0.023 RECORD54 -0.179 -0.138 -0.175 0.043 0.182 RECORD55 0.173 -0.226 -0.257 -0.135 0.061 RECORD5 6 -0.056 0.145 -0.118 0.224 -0.050 RECORD57 -0.075 0.025 0.072 0.092 -0.002 RECORD58 0.088 -0.071 -0.033 -0.220 0.329 RECORD59 -0.073 0.348 0.014 0.370 -0.255 RECORD60 0.121 0.377 0.055 0.228 0.063

RECORD4 6 RECORD4 7 RECORD48 RECORD4 9 RECORD5 0

RECORD46 1.000 RECORD47 0.171 1.000 RECORD48 -0.230 0.031 1.000 RECORD4 9 -0.203 -0.188 -0.242 1.000 RECORD50 -0.038 -0.341 0.041 0.309 1.000 RECORD51 0.064 -0.101 -0.085 -0.013 0.286 RECORD52 0.077 0.034 0.246 -0.356 -0.083 RECORD53 -0.386 -0.042 0.130 0.012 0.126 RECORD54 -0.380 -0.242 -0.008 0.193 0.236 RECORD55 0.255 -0.221 -0.359 0.337 0.333 RECORD56 -0.019 0.032 0.198 -0.317 -0.185 RECORD57 0.055 0.198 0.257 -0.128 -0.231 RECORD58 0.196 -0.005 -0.274 0.128 0.194 RECORD5 9 -0.013 0.028 0.085 -0.264 -0.123 RECORD60 0.112 0.133 0.124 -0.487 -0.251

RECORD51 RECORD52 RECORD53 RECORD54 RECORD55

RECORD51 1.000 RECORD52 0.239 1.000 RECORD53 0.145 -0.046 1.000 194 "Table 57 (continued)"

RECORD54 0.061 0.146 0.294 1.000 RECORD55 0.018 -0.335 -0.035 0.279 1.000 RECORD56 0.160 0.184 0.117 -0.016 -0.026 RECORD57 -0.169 -0.006 -0.059 -0.321 -0.366 RECORD58 0.249 -0.032 0.091 0.104 0.215 REC0RD5 9 -0.044 -0.039 -0.048 -0.160 -0.085 RECORD60 0.205 0.277 -0.005 0.067 -0.147

REC0RD56 RECORD57 RECORD58 RECORD5 9 RECORD60

RECORD56 1.000 REC0RD57 0.067 1.000 REC0RD5 8 0.000 -0.126 1.000 REC0RD5 9 0.018 -0.035 -0.148 1.000 RECORD60 0.200 0.011 0.078 0.076 1.000

NUMBER OF OBSERVATIONS: 50 APPENDIX E

INSTRUMENT/INSERTS

Dolly Parton

VOCAL PRESENTATION Sincerely, enraptured. LYRICS And I will always love you, I will always love you. PRODUCTION Natural Vocal, light drums, acoustic guitars, harmony singers/strings. Tempo: slow.

DOLLY PARTON I WILL ALWAYS LOVE YOU

Figure 15. Dolly Parton: I Will Always Love You, 195 Kenny Rogers

VOCAL PRESENTATION Genuinely, intimate. LYRICS I guess I'm crazy, crazy for you can't you see... Here is where I want to be. I will always need your love. PRODUCTION Natural: Vocal, bass, light drums, horns, strings piano. Tempo:slow.

KENNY ROGERS CRAZY

Figure 16. Kenny Rogers: Crazy.

Ricky Skaggs

VOCAL PRESENTATION Happy, enamored. LYRICS I wouldn't change a single thing about you if I could... The way I you are just suits me to a tee... And you belong to me. PRODUCTION Natural: Vocal, steel, bass, light drums, acoustic guitar, fiddle. Tempo: medium.

RICKY SKAGGS I WOULDN'T CHANGE A THING, ABOUT YOU If I COULD

Figure 17. Ricky Skaggs: I Wouldn't Change a Thing. Randy Travis

VOCAL PRESENTATION Happy, revealing, devoted. LYRICS As sure as I live, This love that I give is going to be yours until the day that I die. Oh baby I'm going to love you forever. PRODUCTION Natural: Vocal, bass, light drums, guitar, steel, dobro, Tempo: medium.

RANDY TRAVIS fOR6V6R &. 6V6R, AM6N

Figure 18. Randy Travis: Forever & Ever, Amen.

Tom T. Hall

VOCAL PRESENTATION Sincere, appreciative. LYRICS I love leaves in the wind, pictures of my friends, birds "2 in the world, and squirrels. And I love you too. PRODUCTION Natural: Vocals, strings, light drums, piano. Tempo: slow. TOM T. HALL i LOVB

Figure 19. Tom T. Hall: I Love. Exile

VOCAL PRESENTATION Rejoicing, joyful. LYRICS I She's a miracle, A sight to see. Oh the way she touches me. Way down deep in my soul... Oh, I she's a miracle. PRODUCTION Processed: Vocal mixed into instruments. Bass, drums, guitars, piano. Tempo: medium-fast.

EXILE SHE'S A MIRACLE

Figure 20. Exile: She's a Miracle.

Alabama

VOCAL PRESENTATION Joyful, happy. LYRICS Ain't it great, ain't it fine, to have a love, someone other •can't find... all we ever need J is just the two of us. PRODUCTION Processed: Vocals mixed into instruments, drums, bass, guitars. Tempo: medium-fast. ALABAMA SHE &. /

Figure 21. Alabama: She & I. Ronnie Milsap

VOCAL PRESENTATION Affirming, rejoicing, elated. LYRICS I'm a stand by my woman man. Our world turns around a little gold band... We fall asleep at night thinking ain't love grand. PRODUCTION Processed: Vocal mixed into instruments, drums,steel, piano, bass, guitars. Tempo: medium.

RONNIE MILSAP I'M A STAND BY /WY WOMAN MAN

Figure 22. Ronnie Milsap: I'm A Stand By My Woman Man.

Kenny Rogers

VOCAL PRESENTATION Grateful, pleased. LYRICS And she believes in me, I'll never know just what she sees in me... But she has faith in me, so I go on... PRODUCTION Processed: Vocal mixed into instruments. Drums, strings, piano, bass, guitar. Tempo: medium.

KENNY ROGERS SHE BELIEVES IN ME

Figure 23. Kenny Rogers: She Believes in Me. 200 W ^ —Barbara Mandrel! fflf __ A WE VOCAL PRESENTATION fg / «* ^\ WM Elated- wishful. W A ~" \ jH LYRICS r. Li """* .-Ifc^fll You can eat crackers in my bed, I anytime... You can sleep with the window open wide. Do I anything as long as your by my side. PRODUCTION Processed: Vocal mixed close to the instruments Drums, bass, piano, guitars. Tempo: fast. BARBARA MANDRELL CRACKERS

Figure 24. Barbara Mandrell: Crackers.

Hank Williams

VOCAL PRESENTATION Cheerful inviting. LYRICS Say hey good lookin'. What ^: "%»• JBHMF you got cookin.' How's about :^v *&% ^^^K'-'- cooking something up with me...? ^^^ ^^ I got a hot rod Ford and a two W' ^3T jH dollar bill... so if you want 1/ 17\ rPr~" to have fun come along with me. PRODUCTION Natural: Vocals, bass, guitars, light drums. Tempo: medium-fast. HANK WILLIAMS H6Y GOOD LOOKIN'

Figure 25. Hank Williams: Hey good Lookin' 201

Don Williams

VOCAL PRESENTATION Inviting, proposition. LYRICS •-* _ Come on lets go now. Kick off ^ yjt your shoes, turn out the light, and love me tonight. PRODUCTION Natural: Vocal... acoustic guitar, electric guitar, bass, light drums, harmony singers. Tempo: medium.

DON WILLIAMS TURN our THE LIGHT AND LOVE ME TONIGHT

Figure 26. Don Williams: Turn Out The Light and Love Me Tonight•

Conway Twitty

VOCAL PRESENTATION Craving, lustful. LYRICS There's a lot of ways of saying what I want to say to you... I'll come right out and tell ya I'd just love to lay you down. PRODUCTION Natural: Vocal... drums, (kick), guitars, electric piano. Tempo: medium. CONWAY TWITTY I'D L0V6 TO LAY YOU DOWN

Figure 27. Conway Twitty: I'd Love To Lav You Down. merle Haggard

VOCAL PRESENTATION Arousing, touching, inviting. LYRICS Let's chase each other round the room tonight. Let's play the games we played on our wedding night. PRODUCTION Natural: Vocals, light drums, steel, bass, guitar. Tempo: medium.

MERLE HAGGARD LET'S CHASE EACH OTHER ROUND THE ROOM

Figure 28. Merle Haggard: Let's Chase Each Other Round The Room.

George Jones

VOCAL PRESENTATION Melancholy, but appreciative, LYRICS I've been turned on, turned - down, when the bars close at two. But I always get lucky with you. PRODUCTION Natural: Vocal, light drums, piano, acoustic guitar, strings. Tempo: slow.

GEORGE JONES I ALWAYS GET LUCKY WITH YOU

Figure 29. George Jones: I Always Get Lucky With You. John Anderson

VOCAL PRESENTATION Aroused, elated. LYRICS I was on the porch with Charlotte feeling love down to my toes, and we were swinging, yea swinging. PRODUCTION Processed: Vocals mixed into instruments. Drums, bass, guitars, horns, piano. Tempo: medium-fast.

JOHN ANDERSON SWINGIN'

Figure.30. John Anderson: Swinqin'

Anne Murray

VOCAL PRESENTATION Affectionate, enticing. LYRICS We'll be shadows in the moonlight... Hand and hand we'll go dancing through the milky way. PRODUCTION Processed: Vocals mixed into vocals. Drums, bass, guitars, piano, echo. Tempo: medium. ANN6 MURRAY SHADOWS IN IHi MOONLIGHT

Figure 31. Anne Murray: Shadows In The Moonlight, Alabama

VOCAL PRESENTATION Excited, perceptive, turned on. LYRICS ...Your the one who took my hand... Your the one who moves me like nobody else can. Take me down... PRODUCTION Processed: Vocals mixed into the instruments. Drums, bass, Rhodes, piano, guitars. Tempo: medium. ALABAMA TAKE M6 DOWN

Figure 32. Alabama: Take Me Down.

Ronnie Milsap

VOCAL PRESENTATION Desirous, eager. LYRICS I'm having daydreams about night things in the middle of the afternoon. While my hands make a living, my minds home loving you. PRODUCTION Processed: Vocals, drums, guitars, piano bass. Tempo: medium-fast.

RONNIE MILSAP DAYDREAMS ABOUT NIGHT THINGS

Figure 33. Ronnie Milsap: Daydreams About Night Things. Jerry Lee Lewis VOCAL PRESENTATION Aroused, frenzied, goofy. LYRICS Chantilly Lace, has a pretty face, a pony tail hangin' down, a wiggle in her walk, giggle in her talk... Makes that world go around... That what I like. PRODUCTION Natural: Vocal, piano, drums, guitars, bass. Tempo: fast.

JERRY Lee Lewis CHANTILLY L/tC£

Figure 34. Jerry Lee Lewis: Chantillv Lace.

Tammy Wynette VOCAL PRESENTATION Sad, depressed. LYRICS So we spell out the words we don't want him to understand... But the words we-'re hiding from him now, tear the heart out of me. Our divorce becomes final today. PRODUCTION Natural: Vocals, light drums, guitars, bass, piano. Tempo: medium-slow.

TAMMY WYNeTTe DIVORCe

Figure 35. Tammy Wynette: DIVORCE. Conway Twitty VOCAL PRESENTATION Regretful, inquisitive, protective. LYRICS Hello darlin' nice to see ya. It's been a long time. You're just as lovely as you use to be. How's your new love? Are you happy? How am I doing? PRODUCTION Natural: Vocals, steel, guitars, drums, base, piano. Tempo: slow. CONWAY TWITTY HELLO DARLIN'

Figure 36. Conway Twitty: Hello Darlin'.

Patsy Cline

VOCAL PRESENTATION Bittersweet, regrettable, sad. LYRICS I've got your picture that you gave to me. And it's signed with love just like it use to be. The only thing different... I've got your picture, she's got you. PRODUCTION Natural: Vocals, bass, guitar, piano, light drums. Tempo: slow. PATSY CLIN6 SHE'S GOT YOU

Figure 37. Patsy Cline: She's Got You. Hank Williams

VOCAL PRESENTATION Regretful, hopeful. LYRICS Today I passed you on the street and my heart fell at your feet, i can't help it if I'm still in love with you. PRODUCTION Natural: Vocals, guitars, light drums, bass, fiddle. Tempo: slow.

HANK WILLIAMS I CAN'T HeLP 17 If I'M STILL IN LOVe WITH SOU

Figure 38. Hank Williams: I Can't Help It. If I'm Still In Love With You.

Brenda Lee

VOCAL PRESENTATION Regretful, sorrow. LYRICS I'm sorry, so sorry. That I was such a fool. I didn't know that love could be so cruel. PRODUCTION Natural: Vocals, very light drums, piano, bass, strings. Tempo: slow.

BRENDA tee I'M SORRY

Figure 39. Brenda Lee: I'm Sorry. K. D. Lang VOCAL PRESENTATION Dejected, sad. LYRICS Three days that I dread to see arrive. Three days that I hate to be alive. Three days filled with tears and sorrow, yesterday, today, and tomorrow. PRODUCTION Processed: Vocal mixed into instruments and harmony vocals. Walking bass, drums, guitar, steel. Tempo: medium-fast. K. D. LANG THREE DAYS

Figure 40. K.D. Lang: Three Days.

Reba McEntire VOCAL PRESENTATION Dejected, anxious. LYRICS What in the world am I going to do about you. Your memory keeps coming back from out of the blue. PRODUCTION Processed: Vocal, mixed into instruments. Drums, guitars, steel, bass, acoustic guitar. Tempo: medium-slow.

REBA MCENTIRE WHAT IN THE WORLD AM I GOING TO DO ABOUT YOU

Figure 41. Reba McEntire: What In The World Am I Going To Do About You. Conway Twitty

VOCAL PRESENTATION Sorrowful, blue, depressed. LYRICS And right down the hall, someone in there feels like crying, cause they're all alone. Somebody's needing somebody the way I do. PRODUCTION Processed: Vocal mixed with instruments. Drums, guitar, bass, strings. Tempo: slow. CONWAY TWITTY SOMEBODY NEEDS SOMEBODY

Figure 42. Conway Twitty: Somebody Needs Somebody.

George Strait VOCAL PRESENTATION Blue, agitated, indignant, and annoyed. LYRICS Well, I'm out on a tear, cause, she's tearing me apart... Since my woman left, I'm down and out. Well, I'm down at the bar, out of my mind. PRODUCTION Processed: Vocal mixed into instruments. Drum, steel, guitar, bass. Tempo: medium. GEORGE STRAIT DOWN AND OUT

Figure 43. George Strait: Down and Out. Juice Newton VOCAL PRESENTATION Anxious, impassioned, pleading. LYRICS Break it to me gently. Let me down the easy way. Make me feel you still love me, if it's just, just for one more day. PRODUCTION Processed: Vocal mixed into instruments. Lots of echo. Bass, guitars, drums, strings, piano. Tempo: slow. JUICE N6W70N BREAK IT TO ME GENTLY

Figure 44. Juice Newton: Break It To Me Gently,

Hank Williams VOCAL PRESENTATION Sorrow, blue, sad, resentment. LYRICS Your cheating heart will make you weep. You'll cry and cry and try to sleep. But sleep won't come the whole night through. Your cheating heart will tell on you... PRODUCTION Natural: Vocal, light drums, bass, fiddle, guitars. Tempo: slow. HANK WILLIAMS YOUR CHEATING HEART

Figure 45. Hank Williams: Your Cheating Heart. 211

Hank Williams Jr. VOCAL PRESENTATION Dejected, confessing, sad, restless. LYRICS I got a good woman at home, who thinks I do no wrong. But sometimes Lord she just ain't always around. And you know that's when I fall... I get whiskey bent and hell bound. PRODUCTION Natural: Vocal, bass drums, steel piano, bass. Tempo: slow. HANK WILLIAMS JR. WHISK6Y 86NT AND HELL BOUND

Figure 46. Hank Williams Jr. Whiskey Bent and Hell Bound.

Earl Thomas Conley VOCAL PRESENTATION Anguished, gloomy. LYRICS It's the third hardost thing I'd ever do, leaving here without you. And the second hardest thing I'd ever do is tellin' her about you. PRODUCTION Natural: Vocal, bass, acoustic guitar, light drums. Tempo:slow.

EARL THOMAS CONLEY HOLDING HER & LOVING YOU

Figure 47. Earl Thomas Conley: Holding Her & Loving You. Marty bobbins

VOCAL PRESENTATION Confessing, resentment. LYRICS I told Mary about us. I told her about our great sin. Mary cried and forgave me... Oh devil woman, Devil woman let go of me... PRODUCTION Natural: Vocal, acoustic guitar, bass, drums and percussion. Tempo: medium. MAR7Y ROBBINS DEVIL WOMAN

Figure 48. Marty Robbins: Devil Woman.

John Anderson VOCAL PRESENTATION Anger, dejected, revealing, sad. LYRICS All those stories I've been hearing. I won't believe that they were true. But just this morning over coffee, your lying blue eyes just told on you. PRODUCTION Natural: Vocals, light drums, bass guitar, fiddle, steel. Tempo: slow. JOHN ANDERSON YOUR LYING BLUE EYES

Figure 49. John Anderson: Your Lying Blue Eves. Kenny Rogers VOCAL PRESENTATION Yearning, dejected. LYRICS You've painted up your lips " and rolled and curled your tinted hair. Ruby are you contemplating going out somewhere... Oh Ruby, don't take your love to town. PRODUCTION Processed: Vocals, drums, guitars, bass, echo. Tempo: medium-fast.

KENNV ROGERS RUBS, DON'T TAKE SOUR LOVE TO TOWN

Figure.50. Kenny Rogers: Ruby, Don't Take Your Love To Town.

Reba McEntire VOCAL PRESENTATION Hurt, hopeful, pleading. LYRICS You say that it's important for our future. An executive on his way up, has got to play the part... When whoever's in New England through with you... PRODUCTION Processed: Vocal, guitar, steel, bass, drums, piano. Tempo: medium. REBA MCENTIRE WHOEVER'S IN NEW ENGLAND

Figure 51. Reba McEntire: Whoever's In New England. 2

Barbara Mandrell VOCAL PRESENTATION Confessing, adamant, I insistent. LYRICS If loving you is wrong I don't want to be right... My I friends tell me there's no | future in loving a married man... PRODUCTION Processed: Vocal mixed into instruments. Loud drums, bass piano, strings. Tempo: medium. BARBARA MANDRELL (IF LOVING YOU IS WRONG) I DON'T WANT TO B6 RIGHT

Figure 52. Barbara Mandrell: (If Loving You Is Wrong), Don't Want To Be Right.

Eagles VOCAL PRESENTATION Resentment, revealing, predicting. LYRICS So she tells him she must go out for the evening... But he knows where she's going... She is headed for the cheating side of town. You can't hide your lying eyes. PRODUCTION Processed: Vocal mixed into instruments. Guitars, drums, bass, Tempo: medium. EAGLES LYING EYES

Figure 53. Eagles: Lying Eyes. 215

Sylvia VOCAL PRESENTATION Resentment, annoyed, revealing. LYRICS Well, your nobody called today, and she hung up when i ask her name... You say nobody's after you. The fact is... PRODUCTION Processed: Vocal mixed into instruments. Drums, bass, guitars, electronic strings. Tempo: medium-fast.

SYLVIA NOBODY

Figure 54. Sylvia: Nobody.

Tom 7. Hall VOCAL PRESENTATION Telling, nostalgic, compelling. LYRICS No one around, except this guy and me... Uninvited he ______sat down and opened up his __tf j2SI9M rnind. On dogs, children and w* JrV&ttA watermelon wine. PRODUCTION Natural: Vocals, strings, acoustic guitar, piano, light drums. Tempo: medium-slow.

TOAJ T. HALL OLD DOGS CHILDREN AND WATERMELON WINE

Figure 55. Tom T. Hall: Old Dogs, Children and Watermelon Wine. Hank Williams Jr. VOCAL PRESENTATION Celebrating, telling. LYRICS One things for sure. We're all just passing through. We're not goin' to live forever, not me and you. ...all that matters anyway, Good friends good whiskey and good lovin'. PRODUCTION Natural: Vocal, drums, bass, guitars. Tempo: medium. HANK WILLIAMS JR. GOOD fRIENDS, GOOD WHISK6Y AND GOOD LOVIN'

Figure 56. Hank Williams Jr.: Good Friends. Good Whiskey, and Good Lovin'.

Don Williams VOCAL PRESENTATION Recommending, telling. LYRICS Stay young, keep your wheels in motion. You've got everything that you need... All the best things in life are free. PRODUCTION Natural: Vocal, drums, acoustic guitar, piano. Tempo: medium slow.

DON WILLIAMS STAY YOUNG

Figure 57. Don Williams: Stay Young. 2

The Judds VOCAL PRESENTATION Asking, Imploring, wanting, questioning. LYRICS Grandpa, tell me 'bout the good old days. Sometimes it feels like, this world's gone crazy. Grandpa take me back to yesterday, when the line between right and wrong didn't seem so hazy. PRODUCTION Natural: Vocal, acoustic guitars, drums, bass, steel. Tempo: slow. THE JUDDS GRANDPA TELL ME 'BOUT THE GOOD OLD DAYS

Figure 58. The Judds: Grandpa, Tell Me "Bout The Good Old Days.

Johnny Paycheck VOCAL PRESENTATION Enraged, mad, rebelling. LYRICS Take this job and shove it. I ain't working here no more... You better not try and stand in my way, cause I'm a walking out the door. PRODUCTION Processed: Vocal mixed into instruments. Drums, guitar, bass steel. Tempo: medium.

JOHNNY PAYCHECK TAKE THIS JOB AND SHOVE IT

Figure 59. Johnny Paycheck: Take This Job and Shove It. 2

Waylon Jennings VOCAL PRESENTATION Optimistic. LYRICS The only two things in life that make it worth living. Is Guitars in tune and firm feeling women... Maybe it's time we got back to the basics of love. Let's go to Luckenback Texas... PRODUCTION Processed: Vocal mixed into instruments. Drums, guitars, bass. Tempo: medium. W/fYLON JENNINGS LUCKENBACK T6KAS

Figure 60. Waylan Jennings: Luc kenbac k, Texas.

George Strait VOCAL PRESENTATION Telling, nostalgic. LYRICS If you got a ... 40 room shack boy. A bucket full of money... But if you gettin' no huggin'. No smouching' or a muggin'. If you ain't lovin' then you ain't livin'. PRODUCTION Processed: Vocals mixed into instruments. Drums, Fiddle, bass guitar (echo). Tempo: fast. GEORGE S7RAI1 IF YOU AIN'7 COVIN' THEN YOU AIN'T CIVIN'

Figure 61, George Strait: If You Ain't Lovin'. You Ain't Livin'. Arron Tippin VOCAL PRESENTATION Convincing, telling. LYRICS Now daddy didn't like trouble, but if it came along, everyone that knew him, knew the side he'd be on... He'd say you've got to stand for something or you'll fall for anything. PRODUCTION Processed: Vocals mixed into instruments. Drums, bass, piano, fiddle, guitars. Tempo: medium.

ARRON TIPPIN YOU'VE GOT TO STAND FOR SOMETHING

Figure 62. Arron Tippin: You've Got To Stand For Something.

Kenny Rogers VOCAL PRESENTATION Enthusiastic, nostalgic, revealing. LYRICS You've got to know when to 1 hold them, know when to fold them. Know when to walk away, and know when to run... Every flHitfJ^A gambler knows that the secret k aKKm^^r t0 surviving... PRODUCTION Processed: Vocals mixed into instruments. Drums, bass, harmony singers, guitars, steel, piano. Tempo: medium-fast. KENNY ROGERS THE GAMBLER

Figure 63. Kenny Rogers: The Gambler. Ray Stevens VOCAL PRESENTATION Enthusiastic, powerful, preaching. LYRICS Everything is beautiful in its own way, like the starry ^ summer nights or a snow j§ covered winters' day... V Everybody's beautiful in V *W 'la ^1e'r own wav> -A • $M PRODUCTION Processed: Vocals mixed into instruments. Drums, horns bass, children harmony, strings, guitars, piano, vibs/chimes singers. Tempo: medium-fast. RAY STEVENS EVERYTHING IS BEAUTIFUL

Figure 64. Ray Stevens: Everything Is Beautiful,

Merle Haggard

VOCAL PRESENTATION Boastful, proud. LYRICS I'm proud to be an okie from Muskogee. The place where even squares can have a ball. PRODUCTION Natural: Vocal, loud drums, bass guitar, background singers (party). Tempo: fast.

MERLE HAGGARD OKIE fROM MUSKOGEE

Figure 65. Merle Haggard: Okie From Muskogee. Ricky Skaggs VOCAL PRESENTATION Enthusiastic, telling. LYRICS Underneath I'm just a cotton picker... show me where I start, find a horse and cart. I'm just a country boy, ' country boy at heart. PRODUCTION Natural: Vocals, light drums, bass banjo, acoustic guitar. Tempo: fast. RICKY SKAGGS COUNTRY BOY

Figure 66. Ricky Skaggs: Country Bov.

Loretta Lynn VOCAL PRESENTATION Boastful, proud, nostalgic. LYRICS Well, I was born a coal miners' daughter, In a cabin, on a hill in Butcher Holler. We were poor but we had love, that's the one thing that daddy made sure of. PRODUCTION Natural: Vocals, (lots of echo), drums, guitar, banjo, steel. Tempo: medium. LORETTA LYNN COAL MINERS DAUGHTER

Figure 67. Loretta Lynn: Coal Miners Daughter. John Denver VOCAL PRESENTATION Enthusiastic, celebrating. LYRICS Well a simple kind of life never did me no harm. A raisin' me a family, and workin* on the farm. Thank God I'm a country boy. PRODUCTION Natural: Vocal, hand clapping, bass fiddle, acoustic guitar, drums. Tempo: fast. JOHN DENVER THANK GOD I'M A COUNTRY BOY

Figure 68. John Denver: Thank God I'm A Country Boy,

Roger Miller VOCAL PRESENTATION Telling, satisfied, convincing, mild arrogance LYRICS Third box car, midnight train... Destination Bangor Maine. Old worn out suit and shoes. I don't pay no union dues... I'm a man of means by - no means, King of the road. PRODUCTION Natural: Vocal, bass, piano, guitar light drums. Tempo: medium. ROGER MILLER KING Of THE ROAD

Figure 69. Roger Miller: King Of The Road. John Anderson VOCAL PRESENTATION Enthusiastic, proud, optimistic. LYRICS I'm just an old chunk of coal, but I'm goin' be a diamond someday. I'm going to grow and glow till I'm so blue, pure, perfect, I'm goin' to put a smile on everybody's face... PRODUCTION Processed: Vocal mixed into instruments. Drums, guitars, bass, fiddle, piano. Tempo: medium-fast. JOHN ANDERSON I'M JUST AN OLD CHUNK Of COAL

Figure 70 John Andersons I'm Just An Old Chunk Of Coal.

John Conley VOCAL PRESENTATION Telling, humble, confident. LYRICS And we prepared to dine. I knew I was feeling out of place... Let me drive us to McDonald's and I'll talk to you concerning something you should really know. I'm just a common man. PRODUCTION Processed: Vocals mixed into instruments. Drums, bass, guitar. Tempo: medium-fast. JOHN CONLEY COMMON MAN

Figure 71. John Conley: Common Man. Willie Nelson VOCAL PRESENTATION Telling, celebrating. LYRICS Good Morning, America. How are ya? Say don't you know me? I'm your native son. I'm the train they call The City Of New Orleans, and I'll be gone 500 miles when the day is done. PRODUCTION Processed: Vocals mixed into instruments. Drums, horns, guitars, harmonica, bass. Tempo:medium-fast. WILLIE NELSON CITY Of NEW ORLEANS

Figure 72. Willie Nelson: Citv Of New Orleans.

K. 7. Ostin VOCAL PRESENTATION Happy, reminiscing, celebrating. LYRICS ... we were the girls of the 50's. Stoned rock and rollers in the 60's, and more than our names got changed as the 70's skipped on by. Now we're 80's ladies, there ain't been much these ladies ain't tried. PRODUCTION Processed: Vocal mixed into the instruments. Drums, guitars, bass, drums, piano. Tempo: medium-fast. K.7. OSLIN 80'S LADIES

Figure 73. K.T. Oslin: 80's Ladies. Dwigbt Yoakam VOCAL PRESENTATION Boastful, earthy, graphic. LYRICS Well I'm a honky tonk man. And I can't seem to stop. Love to give the girls a whirl to music of an old juke box. PRODUCTION Processed: Vocals mixed into instruments. Drums, bass, fiddle, guitars, piano. Tempo: medium-fast. DWIGHT YOAKAM HONKY TONK MAN

Figure 74. Dwight Yoakam: Honkv Tonk Man. BIBLIOGRAPHY

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